Sacrifice (2016), while far from a waste of time, just isn’t interesting enough to bother with, the only mystery being why anyone thought it was strong enough to garner a theatrical release in the first place.
In the end, Keanu is a movie that shows Key and Peele are more than just television personalities, and it likely won’t be long before they put forth a picture that potentially equals the pair’s comedic virtuosity.
Mother’s Day isn’t just bad, it’s an unforgivable blot on the cinematic landscape, and forgive me if I just try to go to my personal happy place and do my best to imagine that it doesn’t even exist in the first place.
If anything, Sing Street is a rollicking pop music extravaganza with so much life and heart enjoying it is a virtual impossibility, the director stealing my heart with such confidently raucous abandon I almost don’t even know where to start.
A Hologram for the King is a quiet film, one that doesn’t shout at the audience, doesn’t jump up and down ecstatically clamoring for love and adoration. Tykwer is confident in his presentation of the source material that he is happy to let the journey of his main character speak movingly for itself, and in the process the veteran director brings forth a motion picture I’m going to happily treasure for a long time to come.
Green Room is writer/director Jeremy Saulnier’s explosive, gut-wrenching follow-up to 2014’s masterful Blue Ruin…One part horror, one part thriller, one part brutally bleak black comedy of errors, [this] is like some sort of cinematic Gordian Knot of death and destruction.
I honestly don’t know why The Huntsman: Winter’s War exists. I can’t say I have a clue if audiences are interested in seeing it. What I do know is that, even filled with flaws and missteps aplenty, I got a serious kick out of this sequel, enjoyed it far more than I imagined I was going to…There’s still a bit of magic here, and for that I am understandably delighted.
I have this sneaky feeling I’m going to want to watch Louder Than Bombs again, that one second viewing many of the parts that aren’t sitting particularly well with me right now might become ones I have a whole new appreciation for when the film is given another look. All the same, Trier’s latest amazes far more often than it disappoints, the emotional highs it generates ones that caused the hairs on my arms to stand straight up in awe every time I was lucky enough to experience them.
This is more than a simple impersonation, although it’s obvious Cheadle has done his homework. No, the vaunted character actor digs so much deeper than just being content to become Davis’ modern day mirror image, his constant emotional virtuosity a sensational counterpoint to the nonlinear story beats being presented in their own, eccentrically individualistic fashion.