The Counselor (2013) doesn’t go down easy, and it certainly isn’t uplifting, but that doesn’t make it any less great, the film a pointed reminder that greed isn’t pretty and the even the smallest of missteps can have the bloodiest of consequences.
All is Lost is a triumph, no more, and certainly no less, and my gut feeling is that viewers who take up the challenge to see it in a theatre will likely feel the same.
You get what you pay for as it pertains to Big Ass Spider!, and to my mind this is a very good thing indeed. If you’re headed to the box office chances are you have preconceived ideas of what it is you want, the title of the film not exactly shrouding things in any sort of mystery. It is, after all, claiming to be a movie about a big ass spider, meaning that if it doesn’t have one you are likely to come away angrily disappointed.
So much of Carrie is rudimentary to the point it’s almost tedious, all of which makes caring about much of what transpires exceedingly difficult.
For all its many faults Escape Plan still manages to be an entertaining action throwback, and pardon me if I ended up enjoying the heck out of it.
All the Boys Love Mandy Lane is a great showcase for a filmmaker at the start of his career, Levine juggling the labyrinthine tangents of Forman’s screenplay with a lethally intoxicating precision that’s impressive.
Captain Phillips doesn’t present new ideas so much as it puts a mirror to the best and the worst of human nature, allowing the viewer to make of that glimpse what they will, the resultant life lessons striking in their universality.
Rodriguez and Trejo may love Machete Cortez, and that’s just fine, but that doesn’t mean I don’t hope they’re finally done with the character, Machete Kills not worthy of more than a minute or two of anyone’s time.
The woe of director Carlo Carlei’s and screenwriter Julian Fellowes’ adaptation of William Shakespeare’s timeless and immortal tragic love story Romeo & Juliet (2013) is just how banal and unbearably schmaltzy it is. They have taken the Bard’s iconic play and transformed it into something overbearing and unbearable, smothering the text, the performances and the drama into layer upon layer of bombast and melodrama making the movie version itself close to unwatchable.