Neeson and Collet-Serra know what they’re doing and they’ve got the formula down pat. For fans of the pair, there are certainly far worse ways to spend a couple of hours. If anything, The Commuter sure beats getting stuck in rush hour traffic on the way home from work.
I might even go so far as to proclaim Paddington 2 pretty much perfect, but let me indulge in one more marmalade sandwich before I make the decision to say just that.
Day-Lewis has said this is his last role, that with Phantom Thread’s release he is retiring from acting. If this is indeed the case, Anderson has crafted for the three-time Academy Award winner a role fitting of his legendary talents.
But it is the film’s eerie sound design that is most impressive. Staub uses it as a weapon, keeping both the characters and the audience constantly discombobulated, and it is frequently impossible to know what each little creak in the floorboards, whistle of wind or crack of lightning signifies let alone where they might be coming from.
Hostiles isn’t an easy sit, the end resolution a cultural demolition that, no matter how pure the intentions of the survivors might be, could prove to be even more heinous than the violence they, their compatriots and those standing against them all faced in a cold, lonely wilderness where every step could be someone’s last.
But even if Gillespie and Rogers don’t go for the jugular, I still enjoyed much of what their truth is stranger than fiction real crime enterprise had to offer, and while I, Tonya doesn’t land a triple axel, it’s safe to say it doesn’t go splat face-first into the ice, either.
Insidious: The Last Key isn’t the worst but it also clearly isn’t the best, either. It just sort of rests tenuously in some sort of bland, easily digestible horror middle ground, and as such there’s little reason to hate the film even if I can’t exactly sing its praises.
In regards to 2017, there was undeniably plenty to love. From the sight of Diana of Themyscira making the decision to walk into the middle of No Man’s Land alone in Wonder Woman, to four best friends rediscovering their bonds of familial sisterhood in Girls Trip, to a father sitting quietly with his despondent teenage son speaking to him with a level of empathetic understanding that helps ease the pain in Call Me by Your Name, to a little girl facing down a gigantic figure dressed in black riding a gigantic stallion in the middle of an isolated corn field in American Fable, the volume of memorable moments is simply off the charts.
It’s hard to imagine I won’t be treasuring Baker’s The Florida Project for decades to come.