In a World… isn’t just born out of LaFontaine’s iconic trailer catchphrase, it lives up to it, and imagining a world that this particular motion picture doesn’t exist within one I personally do not want to ponder.
The script has issues, way too many of them, and it isn’t like the great stuff is so good as to make up for the bits and baubles that fall short (way, way short). We’re the Millers just isn’t a disaster, and considering how badly it treats two of its main characters and the ways that it seems to be making itself up as it goes along this in and of itself is a trait almost worth celebrating. Almost.
Would I watch 2 Guns again? Maybe, when it shows up on Cable and I’m folding laundry, this thin piece of comic book inspired hokum might fit the bill perfectly.
Fruitvale Station will undoubtedly be seen in context of current events, and in many ways that’s both to be expected as well as perfectly fine. But on its own, as a stand-alone release depicting a tragic true story with candor, grace and realism, Coogler’s movie makes as indelible an impact as anything I’m likely to see in all of 2013.
Made with style, imagination, confidence and panache, [The Conjuring (2013)] gets under the skin right away and then stays there for the remainder of its innervating 112 minutes, building to a solidly sinister and unsettling finale that had the audience I watched it with on collectively disquieted pins and needles.
Directed with whimsically audacious precision by Jon Wright (Tormented), featuring a crackerjack, and surprisingly intelligent, script by newcomer Kevin Lehane, the movie is a stupendously entertaining hoot start to finish, and by the time it was over all I wanted to do was start the darn thing over from the beginning and watch it again.
Turbo works, surprisingly so, its contest of brotherly love and understanding a warm-hearted race where those watching the spectacle end up being the biggest winners of them all.
Less than 12 months later, producers/writers/directors Simon Barrett and Adam Wingard have managed to cajole another group of talented filmmakers to take their crack at the concept, and results are, to be perfectly frank, close to astonishing. V/H/S 2 doesn’t just improve upon the first film, doesn’t just take note of its missteps and mistakes, it quickly enters the pantheon as one of the great horror anthologies ever made.
The Way, Way Back proves a familiar story in the hands of great filmmakers confident in their abilities (as well as in the talented team they’ve assembled to assist them) can still be worthwhile. This movie is wonderful, nothing more, and certainly nothing less, the truths it revels in may not be new or revelatory but that doesn’t make them any less compelling or, for that matter, universal.