His Dark Shadows is an odd duck, never really finding solid footing yet still offering up plenty of laughs, some of them the biggest the director has crafted since Beetlejuice. It goes to some highly intriguing places and isn’t afraid to slow dance across a blood-red floor.
God Bless America comes out guns blazing, and even if all the targets don’t get hit just enough of them do the satirical end result is nothing less than lethal.
Tonight You’re Mine isn’t anything new, doesn’t break any ground or go any place that I didn’t fully anticipate. But like I’ve already stated, that’s just fine. This movie is a song I loved singing along to, its boisterous chorus so infectious I feel like I’m going to be humming it for the remainder of the week.
All I can say is that I hope Whedon does return to the helm, because after this movie the thought of The Avengers assembling without his assertively assured guidance is something I have difficulty pondering.
Darling Companion is so intent on not taking anyone to task or coming up with sights or sounds an audience might find potentially off-putting it ends up swimming in some incredibly banal waters.
As courtships go, The Five-Year Engagement didn’t have enough oomph to get me to the alter, making me something of a runaway bride as I exited the theatre and found myself wishing I would have eloped with a different motion picture altogether.
The Pirates! Band of Misfits may not be Aardman’s best, but that still makes it better than just about anything else out there for kids and for families, my hearty Aar! of affirmation undeniably boisterous.
McTeigue’s thriller is a massive missed opportunity, The Raven leaving my tell-tale-heart wanting and to the idea of ever watching it again in the future I can boil my feelings down to a single word: Nevermore.
Yet Yakin’s film embraces its own central lunacy. Better, Safe takes the time to craft a story that, within the confines of its idiotically over-the-top world, is both believable and character-driven.