Deathgasm is a hoot, holding up beautifully on repeat viewing filled with a number of creative delights not necessarily noticed on first viewing. Howden shows a lot of promise with this debut, and while I’m not automatically excited about him tackling a reported sequel next and not something different, considering the talent he shows here I’m more than willing to keep an open mind.
Ghost Story is not the novel that inspired it. Large swaths of Peter Straub’s source material are almost unavoidably absent. But looking at it now, almost 35 years after its original release, the movie holds up rather nicely, anchored by a quartet of performance by some talented pros and some unsettling scare sequences ingeniously staged by the director John Irvin that more than impress.
Rebecca Ferguson is a star, plain and simple, and Tom Cruise’s fearlessness is still a sight to behold. But, truth be told? Rogue Nation doesn’t play near as well the second time around as it did the first. Still very entertaining. Still a good time. Just not nearly as rewatchable as the last two Mission: Impossible adventures have proven to be, and I’d be awfully remiss if I didn’t take a second or two to point that out.
The Final Girls is a total hoot, start to finish, beginning to end, and I admit to having watched it about four or five times since the Blu-ray arrived for review. It’s a genre-bending smash that gets better with each viewing, the film a glorious comedy-horror hodgepodge featuring stellar performances from Malin Akerman and Taissa Farmiga ranking as two of 2015’s finest.
I was able to watch Goodnight Mommy again, and, truth be told, it’s very close to a masterpiece. Still difficult. Still tough. Still emotionally devastating on an emotionally primal level. But the filmmaking is just beyond reproach, while the last half hour is mesmerizing in the extreme. Not an easy sit, but a worthwhile one, and here’s my push urging anyone with an even slight inkling of interest to make the attempt to give the film a go.
I don’t have a whole lot new to add. No Escape is incredibly well made, and is suitably thrilling for much of its running time. Yet it is also really difficult to watch at times, and I can’t help but feel a little xenophobic on some levels – which is maybe the point – for enjoying it as much as I did. Make of that what you will.
Who cares about Humphrey Bogart’s exceedingly odd casting as a French war hero? I certainly don’t, Passage to Marseille a wonderful old school patriotic WWII actioner with a unique overlapping flashback structure that’s beyond one-of-a-kind.
It’s quite possible The Man from U.N.C.L.E. is the single most underrated – and underappreciated – major studio tentpole that was released to theaters this past summer. It’s fantastic stuff, holding up beautifully on repeat viewing, just getting better and better each time I watch it.
Mr. Holmes holds up beautifully on repeat viewing. Additionally, it cements in my mind that both McKellan and Linney give two of 2015’s best performances, and even if Oscar (probably) won’t recognize them as such that doesn’t make what they accomplish here any less extraordinary.