There is no letup to Don’t Breathe’s second half, the whole thing a white knuckle train of bloodshed that just gets more disturbing and destructive as things go on. It all culminates in a series of captures and escapes that are bone crunching in their primeval intensity, the level of agitation attained throughout the final minutes extraordinary.

Frustrating Hands of Stone Pulls Its Punches Spanning the years between 1964 and 1983, Hands of Stone is a boxing biopic that chronicles the life of Panamanian icon Roberto Durán (Edgar Ramírez), primarily focusing on his relationship with legendary American trainer Ray Arcel (Robert De Niro). It also makes an attempt to take a snapshot […]

If the emotional component didn’t end up feeling so forced, so fake, McConaughey’s performance alone would likely be enough for me to want to cut The Sea of Trees some slack. But it is, there’s just no denying it, and as such, as much as I don’t think Van Sant’s latest deserves all the hate, that doesn’t mean I can send much in the way of love its direction, either.

Here’s hoping those predisposed to stay away because the “Obama” name is associated with Southside with You have second thoughts as far as those are concerned; they might just be surprised to discover just how blissfully entertaining this particular story ends up proving to be.

Disorder is a powerhouse of dramatic tension, the film a deeply human journey of perseverance and catharsis I almost didn’t want to see come to an end.

Let’s Be Evil builds to an unsatisfying conclusion that is neither scary nor shocking, only perfunctorily anticipated, frustrating me to no end because the potential for something far more interesting and disquieting was there.

This new version of Ben-Hur is consistently at war with itself, a tonal nightmare of didactic faith-based melodramatic drivel coupled with over-edited, nonsensical action poppycock that helps make the movie nothing short of an out-and-out disaster.

Not only is Kubo and the Two Strings an original tale, it is one that is both culturally sensitive to its Japanese origins as well as universally accessible to viewers the world over. It is a movie that works beginning to end, practically every piece one worthy of cherishing as events work their way towards their heroic conclusion.

It’s all pretty thin, of course, and I’m not entirely sure the story ultimately earns the reserved solemnity of its climax, but that doesn’t make Blood Father any less entertaining or a rousing return to form for the controversial Gibson. The film works, that’s it, and for genre fans this is one ferocious underground throwback worth putting forth the effort to see.