Elliott nails every scene. It’s a superlative turn, and I’m hard-pressed to think of another actor who could have brought the same sort of lived-in gravitas to the role.
“This movie is affecting audiences very deeply. It’s moving them. It’s something new for them that they’re really appreciating and loving. That has value to me.”
– Colin Trevorrow
[If] there are any more entries like Transformers: The Last Knight than the end for this series can’t come quick enough, and maybe it would be for the best if Optimus Prime and his Autobots gave up on the human race and left us to destroy ourselves in relative peace and quiet.
“But beyond that, the movie is actually subversive, it’s smart and it’s got some real poignant things to say, even if they are often being said with a wink. That stuff, the friendship, the celebration of creativity, those are my favorite aspects of the movie. I want people to feel the same.”
– David Soren
The Book of Henry has issues, big ones, but subject matter I do not believe is one of them, the emotional richness flowing through these intergenerational familial revelations ones I continually responded to no matter how upsetting and uncomfortable the story itself might oftentimes be.
[Just] because Cars 3 is unlikely to win any awards or be remembered as one of the year’s great animated features doesn’t make it any less entertaining. Lightning’s return to the motor speedway is worthy of appreciation, the film’s eventual victory as unexpected as it is absolute.
It Comes At Night is anchored in a nihilistic fatalism that’s painfully catastrophic. It’s a downbeat eulogy to a story that’s been heading in that direction right from its opening image, those anticipating something different likely to walk away afterward scratching their head wondering what it was they just experienced.
If this is what Universal’s Dark Universe is going to be like, I can’t say I’m excited, and as a genre fanatic who adores the likes of The Wolf Man, Dracula, Frankenstein et al, that is about as depressing a sentence as any I’ll likely write this year.
[By] refusing to reveal Rachel’s role one way or the other as it pertains to Ambrose’s demise, there is a strong, deeply disquieting emotional component that is disturbingly effective. Michell does Du Maurier’s story proud, the My Cousin Rachel offering up a quietly tragic romantic melancholy I found impossible to resist.