Elevator to the Gallows is a movie that the word “masterpiece” was invented for.
Wish Upon still features a terrific ending that knocked my socks off a second time but the remaining majority portions equally still proved to be an almost unendurable slog. Even after giving it another chance, great final five minutes aside, there’s precious little here I can honestly recommend.
Wonder Woman is amazing. It is filled with hope. It is filled with compassion. It is filled with kindness and love…Jenkins deserves to be applauded for bringing this hero to the screen right at the very time we needed her most, and as such creates a motion picture deserving of every single box office dollar, plaudit and award that has come its way.
James Gray’s The Lost City of Z showcases the talented filmmaker at the very top of his game. Percy Fawcett’s story has energized the director, his fascination with the explorer, as well as author David Grann’s source material, obvious in each and every frame of the film. An extraordinary achievement.
The Zookeeper’s Wife may not be the most groundbreaking drama, but what it sets out to do, thanks to Niki Caro’s confidently authoritative direction and Jessica Chastain’s spellbinding performance, it still manages to accomplish with breathless simplicity.
Resident Evil: The Final Chapter will keep the fans satisfied, and that’s really all there is to say.
Co-writing the screenplay with Pascale Ferran, with co-production by none other than the good folks over at Studio Ghibli, Dudok de Wit’s assured storytelling and direction allows this film to achieve a mesmerizing elegance that’s astonishing. The Red Turtle drifts in and out of time and space, offering up a number of ideas, concepts and metaphors that held me blissfully spellbound first frame to last.
I tend to be an easy sell as far as these Underworld films are concerned, and as long as Kate Beckinsale keeps returning to them, I’ll likely remain moderately curious to see how each sequel is going to turn out. Underworld: Blood Wars might not reinvent the wheel as far as this franchise is concerned, but that doesn’t make it any less fun for fans, this latest entry in the vampires versus werewolves franchise well worthy of a look.
Tank 432 is weird and esoteric, but that’s pretty much all it is. Even on second glance, Nick Gillespie’s debut is just too strange and disconnected from any concrete narrative strands the film ends up almost impossible to invest in emotionally. It’s an idea looking for a reason to exist as a feature, and as such even a slew of impressive visuals aren’t nearly enough to make sitting through this one start to finish close to worthwhile.