The Traitor is a sprawling exposé that covers decades of criminal escapades, all of it seen through the eyes of a man who refuses to consider himself an informer.
While some of the core fundamentals are strong, and even though Affleck dominates the dramatic paint as if he were Bill Walton grabbing another rebound, The Way Back emotionally double-dribbles far too often before ultimately clanking the last shot off the front of the iron just as time expires.
It’s all a bunch of colorfully anarchic, emotionally uplifting heartfelt supernatural silliness, all of which helps make Pixar’s latest comedic adventure Onward a goofy good time I’d be excited to see again.
The Invisible Man is next-level stuff that signifies his arrival as a talented storyteller who has an innate ability to take seemingly tired concepts and ideas and make them feel original and contemporary.
Brahms: The Boy II is a lazy sequel.
The Call of the Wild proved to be an outdoor adventure worth going on, and I can’t help but think my 10-year-old self would have seen this in the theatre a good half-dozen times if my parents would have permitted me to do so.
The Lodge is powerfully haunting stuff, things building to a climactic turn of events that are as shocking as they are in some ways equally warranted.
The final third is a massive disaster that’s bewildering in its narrative ineptitude, and as I sat there in the theatre I was dumbfounded how those involved with Fantasy Island thought any of this was a going to play even reasonably well with a paying audience.
VFW is a cracking thriller, its pulse-pounding theatrics making this an agreeably bruising good time I loved every single gosh darn blood-soaked second of.