Submerged had a ton of potential, and director Steven C. Miller is undeniably talented, but for whatever reason things just didn’t come together as far as this project is concerned, the movie nothing short of a nicely cast disappointment that’s frustratingly difficult to watch all the way through until the end.
Phoenix is a revelation, an old-school post-WWII thriller that recalls the glory days of Carol Reed and Fritz Lang yet also gloriously stands on its own as a dynamic, one-of-a-kind sensation. Featuring a performance for the ages by the gifted Nina Hoss, Christian Petzold’s latest is an outright stunner, and as such Criterion’s Blu-ray release should be added to any world cinema connoisseur’s hi-def library as soon as possible.
More gothic drama then it is full-on noir, The Red House is nonetheless a fascinating curio piece, and while its emotional components are a little overwrought at times, the power they have over the viewer still remains undeniable making the film an underappreciated gem worthy of rediscovery.
There’s lot to love about The Hateful Eight. The acting is stellar, it looks terrific, and Ennio Morricone’s Oscar-winning score certainly sets the proper tone throughout. But Quentin Tarantino’s latest is sprawling, overwrought and more than a little full of itself at times, it’s second half turn not going to sit well with a number of viewers.
Alicia Vikander deserved her Academy Award for this performance, and as such The Danish Girl is worth watching for her brilliance alone. Same time, even if director Tom Hooper’s film doesn’t blossom into the type of drama it arguably should have been, it’s depth, maturity, intelligence and sensitivity as it pertains to looking at the Transgender coming out experience deserves to be applauded.
Not to overuse or waste a cliché, but Creed is a knockout. More than just a next chapter in the ongoing Rocky saga, Ryan Coogler’s film stands proudly and dynamically on its own, this inspirational sports melodrama an outstanding piece of pulp entertainment almost certain to stand the test of time.
I really enjoy The Good Dinosaur, and while the film is far from Pixar’s best it has a pleasing, universal quality that’s virtually impossible to deny.
I think The Secret in Their Eyes holds up much better than most critics are likely going to say it does. Billy Ray’s remake stands on its own. It also features one of Julia Roberts best performance, the actress going to unnervingly deep emotional places in order to bring her character to life.
Unless you’re a diehard Disney fanatic/collector who just must have every single item released by the studio, there isn’t a great reason to double-dip on Snow White and the Seven Dwarfs.