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.
I really like Rogue One. I find more to revel in and wonder at with each viewing. It’s much deeper and more profound than anticipated, this full-on war epic showcasing the possibility these promised “stories” set in the Star Wars universe offer if handled correctly.
Moana is bright, beautiful and just a joy to watch. While the story is overly familiar and does little we haven’t seen before, it’s just so gosh darn entertaining that lack of originality isn’t nearly as big a deal as it should be. This is terrific stuff, and watching it brings a sense of joy to my heart and puts a smile on my face, two items that should not be underappreciated.
The Light Between Oceans is growing on me. Derek Cianfrance’s latest might lapse into melodramatic self-indulgence at times, but more often than not the emotions driving things remains honest and pure.
Inferno played better at home than it did in a theatre, and for fans of this series I cannot imagine they’ll be all that disappointed if they choose to give the film a look. I don’t think it’s particularly good, but it is incredibly easy to watch, and on that front I guess I’d have to call this The Da Vinci Code and Angels & Demons sequel something of a moderate success.
This 20th anniversary edition of Jerry Maguire completes any Blu-ray library. Like the movie itself, it’s pretty much perfect, and there’s no reason to write a giant mission statement because those four words sum it all up rather nicely as far as I’m concerned.
The Dressmaker is a great film that only gets better with each viewing. While the Blu-ray isn’t overflowing in extras, the technical presentation is superb, thus making this haute couture Australian barnburner astonishingly easy to recommend.