By all means, see Marshall. Just make sure to learn more about the great man at its center as soon as possible after you exit the theatre.
This is a tired, frustratingly banal piece of genre pulp fiction that even at only 91 minutes feels like it goes on for an eternity, and the only thing I wanted from The Crucifixion was for it to end so I could go do something else.
Much like the plane crash that begins this particular tale, The Mountain Between Us bangs into the side of a metaphorical cliff leaving all kinds of wreckage in its wake, the fact any elements worth extolling the virtues of survived at all something of a minor miracle in and of itself.
This is a worthy, thoughtful and intelligently composed sequel, and much like Scott’s original film Blade Runner 2049 is guaranteed to provoke passionately heated debate and discussion that will continue long into the foreseeable future.
This Flatliners makes all of the exact same mistakes as the original, stranding its talented and attractive cast in ways that grow increasingly ridiculous as things move towards a climax.
Gook is a very good film, sometimes a great one, and even when it stumbles and loses its way towards the end I still found myself eagerly interested to discover everything Chon’s opus was aching to show me.
Seal’s story is the American Dream flipped on its head, Gary Spinelli’s sharply observant script cutting its protagonist little slack as it makes its way towards its suitably hardhearted conclusion.
Super Dark Times might not earn its blood-soaked finale, but that doesn’t make what happens up to that point any less compelling, Phillips in the end proving himself to be a strong directorial talent worth keeping an eye on.
Ignorant bullies weaponizing sexism, homophobia and racism deserve to be silenced, and whether they’re on the tennis court, inside corporate boardroom or even heaven forbid in the gosh darn White House, it’s about time we all follow Billie Jean King’s example and do whatever we can to shut them up, hopefully this time for good.