The last 20 minutes of Hotel Artemis is the payoff all of the slow-burn build has been promising, and for the most part the freshman director pulls it off.
Ocean’s Eight stole my heart, and the theft of it has me grinning ear-to-ear.
Coupled with Woodley’s superlative performance, even with a small handful of reservations I still think Adrift is worth seeing, and it’s additionally quite possible my appreciation for it will only grow as time goes by.
Feral is too by-the-numbers to generate a consistent feeling of suspense or dread, and by the time the film reaches its rather foregone conclusion I’d already emotionally checked out long before this climax.
Nothing happens here that doesn’t feel as if Schrader is in completely control of the outcome, the inherent emotional complexities of First Reformed revealing themselves with a pointed didacticism that’s frequently compelling.
Writer/director Dominic Savage refuses to shower his characters with pity, making zero apologies for their actions no matter how heinous they might be. Yet his affection and respect for them is equally palpable, Tara a fiercely complex figure whose innate goodness is slowly being devastated by this growing cloud of despair.
Revenge smashes the male gaze into a myriad of pieces, this incisive feminine vision of an all-too-real terror a gruesome shot of cinematic adrenaline I’m unlikely to soon forget.
Disobedience is a sensational motion picture I can’t wait to watch again, its pleas for tolerance, freedom, friendship and family all ones deserving to be heard now more than ever.
But On Chesil Beach frustratingly can’t build on this gobsmack of a revelation, Cooke muting the inherent emotional explosiveness of Florence and Edward’s journey to the point it disappears just at the point it needed to be building to a crescendo.