The supernatural undertones don’t sit well with the real world elements. [Ultimately] Beneath just doesn’t work, and as good as the opening half might be the second just doesn’t make the grade.
“It’s just one of those crazy ideas that you have,” Richard Linklater says with a smile. “I was trying to make a film about childhood, but I couldn’t find a spot to begin.”
Boyhood is remarkable stuff, filled with drama, intrigue, suspense, laughter, tears and all the rest that comes with that.
Witching & Bitching is a comedic, gore-drenched, blatantly misogynistic free-for-all that manages to emasculate its male characters at the exact same time it marks them as superior to their female antagonists.
Willow Creek isn’t new, it doesn’t break the mold, but the honest truth is that it doesn’t have to. Goldthwait has made a seriously great scary movie.
Make no mistake, Obvious Child is a stunning debut. More than that, it’s also a terrific piece of cinema I’ll be thinking about and extolling the virtues of for a heck of a long time to come.
The Fault in Our Stars is an eye-opener. Boone does a masterful job most of the way through, everything anchored by a performance from Woodley that’s as terrific as any I’m likely to see delivered in all of 2014.
Rigor Mortis is both a clever homage to Hong Kong’s luminous horror history while also a disturbingly invigorating example that its future is in good hands, Mak’s directorial debut an impressive one indeed.
a SIFF 2013 review Nothing Cheap About These Bleakly Satirical Thrills Cheap Thrills is the best movie you are likely going to be too scared to see. An eviscerating satirical assault on financial disparity and the smug, narcissistic tendencies of a seemingly uncaring elite coupled with the anything-goes neediness of a working class oftentimes willing […]