The movie doesn’t deliver, not at the end, at least, but it does carry its tension to term, that in and of itself almost good enough to make seeing the baby born moderately worthwhile.
Jack Ryan: Shadow Recruit, clunky title aside, does a nice job of making Clancy’s hero relevant again. It brings him into the post-9/11 world with invigorating and suspenseful aplomb, and while Branagh’s effort doesn’t rise to the same heights as the two Phillip Noyce directed efforts with Ford, and is certainly light years away from the near-perfection of John McTiernan’s The Hunt for Red October, it’s still a solidly entertaining thriller that’s easy to enjoy.
Insightful Father Showcases Heartbreaking Universal Truths Ryota Nonomiya (Masaharu Fukuyama) and his wife Midori (Machiko Ono) are celebrating the fact their six-year-old son Keita (Keita Ninomiya) has secured a spot in an exclusive primary school. At the same time, they have also learned from the hospital he was born at that a shocking mistake was […]
Ride Along is rarely funny. More than that, Hart and Cube aren’t all that great a team.
Cold Comes the Night is a B-movie noir handsomely mounted and professionally acted, both Cranston and Eve giving far more of themselves to the production than it probably deserves. The script, credited to director Tze Chun, Osgood Perkins and Nick Simon, doesn’t do a ton that isn’t expected, and other than a rather sudden bullet directed into the head of a relative innocent I can’t say I was ever shocked by anything that took place.
Love Survivor not just a touching testament to the soldiers who fight and die for the country that the love but also a rousing aria speaking to the better angels the world over hoping to make it a better place to live for each and every one of us.
The central mythos behind these Paranormal Activity adventures is intriguing, but the meandering nature propelling The Marked Ones onward is growing tiresome. It’s getting played out, the handicaps of the ‘found footage’ framing device starting to handicap the proceedings more than they are helping it rustle up tension or scares.
But taken on its own, with the weight of expectation and thoughts of all the delays, hiccups and production woes set aside, this 47 Ronin isn’t without its enjoyable aspects. In fact, if it had a few more of them, just a couple, I might have been willing to try and convince interested parties to buy a matinee ticket and give the film a chance.
But like a Tennessee Williams play drug through the Oklahoma mud, as despicable and as ugly as much of what transpires over a couple days with the Westons might be it’s still a heck of a lot of fun to behold. Each character, no matter how brief the time they have on the screen, is a complicated morass of human frailties and failings, each trying their best to trudge their way through them as they look to find a semblance of happiness and peace they rarely get the opportunity to know.