While following a template that could hardly be considered original, the film is nonetheless a quirky, authentically emotional, structurally complex gem that builds its central relationships with a delightfully delicate touch. It refuses to bend or compromise, and while the picture wears its indie street cred like a badge of honor it doesn’t get so arch or artificial as to make any character’s growth or maturation feel fake or insincere.
I like the aggressive machismo fueling the film, a trait Dujardin isn’t afraid of embracing. He’s a tornado tearing through the proceedings with fearless ferocity, becoming some sort of carnivorous, chain-smoking combination of Humphrey Bogart, Gene Hackman and Jean-Paul Belmondo all rolled into one.
As perceptive as all of this might be it’s just as equally slight, Bujalski playing it somewhat safe as things reach their conclusion. But the movie is constantly entertaining nonetheless, Corrigan, Smulders and Pearce all working in sensational tandem allowing the filmmaker’s themes and ideas to come to life with delightful enthusiasm.
[This] is McCarthy’s showcase and she more than delivers. While no one would ever give her an Academy Award for this performance that doesn’t make her any less perfect. She gives Spy its reason to exist, McCarthy hitting the comedic bull’s-eye so frequently she doesn’t so much deserve an Oscar as she does an Olympic Gold Medal.
The new film is a revelation…All-in-all, it’s a completely different motion picture, and one definitely worth seeing.
As debuts go, Slow West is a stupendous one, the film an elegiac Western triumph both fans of the genre and newcomers alike will hopefully enjoy in equal measure.
Terry is a fascinating figure, oozing intelligence and charm even as he heads into his 90s, while Kauflin’s got charisma to burn, his talents as a musician apparent right from the start. As for Hicks, he’s managed to assemble as solid a debut as anything he could have hoped for, Keep and Keepin’ On a rousing documentary undertaking whose rhythmic underpinnings are so self-assured they’re positively euphonious.
But it’s awfully entertaining, delivering on its premise while building to a blood-splattered, rip-roaring finale that sees Ambrose understand what it really is he’s fighting for and thus finding the inner strength to do so in the process overcoming his obvious handicap. While not a great werewolf movie, [Late Phases is] still a very good one, and having already watched it twice I almost can’t wait until the opportunity arises to see it again.
Why Don’t You Play In Hell? is so all over the place, so untidy, so purposefully nonsensical, the truth of the matter is at a certain point I just didn’t see the point of trying to invest any of myself into the proceedings.