There’s a heck of a lot to like about writer/director Stephen Dunn’s feature-length narrative debut Closet Monster. It’s an intriguing film, one that has more to say about sexuality and gender than it initially appears, things revolving around a main character who exhibits a ton of genre stereotypes only to burst free of most of them as the story rolls along to its conclusion.
Inferno might not be terrible, but that’s not saying much. Here’s hoping all involved are done making these Dan Brown adaptations, because I seriously doubt I have the desire or the energy to try and sit through another one anytime soon.
“I do hope, in light of all the hostility in our world right now, that people see something about community, about togetherness and about women, that they haven’t thought about in a little while, and that they see how we are all connected even if we don’t realize it. I want us all to be looking out for one another.”
A breathless entertainment, as simple and as straightforward as it is austere and ephemeral, Certain Women is a tale of life, of how that life is lived and of the connections that are made as one travels down its mysterious road.
Based on the 18th book in Childs’ seemingly never-ending series revolving around the character, Jack Reacher: Never Go Back has much to admire. Sadly, it has maybe even more to be disappointed with, the film living up to its title for all the wrong reasons.
There is no single decent reason to spend good money to see Keeping Up with the Joneses at the multiplex. In fact, I’m not even sure there’s one to warrant spending money on a rental when it ends up on VOD or at the local Red Box, and I sure as heck don’t think anyone should pick up the Blu-ray when it’s in the bargain bin at the neighborhood Wal-Mart.
With Ouija: Origin of Evil Flanagan cements his status as a rising directorial talent, especially as it concerns genre fair like this. Not only can I not wait to see what he has in store for us all next, I just as assuredly cannot wait to get a look at this nifty little piece of supernatural terror again for a second time.
As thrillers go, The Accountant is incontestably absurd. Funny thing is, as insane as things are, the film is so expertly mounted by director Gavin O’Connor (Tumbleweeds) and scrupulously scripted by Bill Dubuque (The Judge) all of the inanities and laughably convenient coincidences aren’t as big a problem as they should be.
There are so many striking moments, and Tiran’s performance is just so gosh darn terrific, that any hiccups that do arise are few and far between. Best of all, Wrona builds things to the type of shattering, emotionally catastrophic climax that lingers in the mind long after the curtain has closed, making Demon a paranormal descent into madness and mayhem that’s hauntingly good.