Edwards has done the unthinkable, crafting a modern Godzilla that not only pays deft homage to the creature’s glorious past but also makes many of its closest impersonators feel hollow and misguided when stood up next to it.
In many ways Locke is the thriller of the year, a real time, ticking clock masterwork of tension and suspense that’s as unrelenting and unmerciful as anything likely to see a release in all of 2014. In others, it is nothing more than a quickly paced melodrama of responsibility and regret, focusing entirely on a single character, the choices he has made and the price he is forced to pay when the bill for his self-centered actions come tragically due.
A comedy of errors, friendship and matrimonial love, Neighbors is a gross-out R-rated affair that still isn’t afraid to wear its heart on its sleeve.
That’s what The Amazing Spider-Man 2 does best, waste inherent potential. It’s got a great actor as the main character; does almost nothing with him. Has a wonderful actress as the female lead; gives her embarrassingly little to do. Casts two great stars – one up and coming, the other a bona fide Oscar-winner – as the bad guys; gives them precious little of substance to do.
But the real star is Hessler’s script, the writer playing on ecological fears with playful irreverence. He doesn’t beat the viewer over the head with the climate changes aspects of the film yet at the same time he isn’t afraid of them, either, the filmmakers making their sociological points but doing so in the confines of a giddily gory creature feature.
Blue Ruin is a movie about revenge. It is about cycles of violence. It is about the hurt, resentments and insecurities that can build up over time leading to spur of the moment decisions which can have tragic repercussions.
With Only Lovers Left Alive Jarmush adds another borderline masterwork to the list, changing gears once again to deliver a supernatural love story hiding a deftly insightful social commentary within its intelligently labyrinthine layers.
Pogue’s grip on all of this might be tenuous, but he knows how to maintain control and deliver the good when it matters most, the climax a terrifying maelstrom of emotional misery that left me shaky and unsettled long after the screen had faded into black.
This isn’t a great movie. I’m not even sure it’s a good one. But I can’t say I was entertained, and as inane as this remake might be the fact it’s an action effort that returns to basics and eschews computer-augmented bits of trickery for old school rock’em sock’em fists-a-flying fireworks is a major plus as far as I’m concerned.