But there are so many boneheaded creative mistakes watching them smack one into the other with such ghastly consistency frankly boggles the mind. Ghost in the Shell is a stupefying failure that’s close to unforgivable, its apparent inability to understand what it gets wrong and why a perplexing mystery even Major herself wouldn’t be able to solve.
Imaginatively Gory House a Horror Haunt Not Worth Visiting A team of kidnappers, led by the aggressively determined Hazel (Sharni Vinson), plan and execute the abduction of heiress Katherine (Carlyn Burchell), setting themselves up for a major payday. But calls to the young woman’s father go continually unanswered, and as such Ade (Steven John Ward) […]
The Zookeeper’s Wife is excellent, the Zabinski’s story an important lesson in heroism that proves to be as entertainingly compelling as it is fascinatingly essential.
This screenplay is shockingly dumb, there’s just no other way to put it, Life more akin to a low budget ‘80s Roger Corman schlock sci-fi knockoff than it comes close to resembling a Ridley Scott or John Carpenter genre classic.
T2 Trainspotting is a fine reunion, and while the punk portion might not be as raucous as it once was, that doesn’t mean these four men have forgotten how to rock one tiny little bit.
Wolves shoots way too many air balls, its inability to find the basket making this dramatic teenage hoop dream nothing short of an emotionally deflated basketball nightmare.
While Gunn and McLean don’t rewrite the company handbook, they still do a good enough job bullet pointing the important stuff to make reading it worthwhile, The Belko Experiment a corporate retreat of butchery and slaughter that takes team building to a heretofore unexplored level of a skull-crushing commitment.
This is a rich, aggressively dynamic piece of horror cinema, one that goes way beyond genre to a point bordering on magnificence, The Devil’s Candy a terrifying heavy metal treat worth savoring.
As haunting and as scary as all of this might turn out to be Personal Shopper is not a horror movie. This is a human drama, plain and simple, one that deconstructs the grief process in ways that have seldom been seen or attempted before. Assayas channels energies that are explosively one-of-a-kind, the languidly methodical nature of the pacing belying the rich emotional density that makes up every step of Maureen’s sojourn to self-actualization and personal growth.