While not covering new territory, Ginger & Rosa is still a glorious achievement of breadth and beauty anchored by a performance from Fanning that’s superb.
I’ve got something of a soft spot in my heart for The Incredible Burt Wonderstone, and while the magic it conjures might be fleeting it’s still there, the smile it left me with as I left the theatre both unanticipated and also one I was in no hurry of seeing mystically disappear anytime soon.
My Amityville Horror has its merits, it’s just too bad the filmmakers couldn’t have delved a little deeper or pushed a bit harder in order to give Daniel’s story the weight, power and poignancy it potentially deserves.
Dead Man Down is a solid little thriller, one that takes its time to develop the principals, giving them reasons to connect and trust one another, and even if everything concludes in a rather familiar fashion that’s not too terrible a problem, the director hitting the requisite beats with a scruffy relish that fits the genre nicely.
Emperor isn’t a great film, and I’m not even sure I could go so far as to call it a good one. But it does have great moments, and while Jones isn’t front and center his memorable take on one of America’s most enigmatic, polarizing and famous military leaders is still sensational.
With Cassel’s masterful performance the glue holding everything together, The Monk rises above the fray to become something memorable, its spiritual search a mystery worth the time it takes to solve.
While I did like a lot of Oz the Great and Powerful, and while I can give it something of a begrudging recommendation, I do feel the movie never lives up to its potential. Baum’s magic is still evident, filtering in and out like a lightning bold shooting across the night’s sky. There’s just not enough of it for the film to pull off any of its signature tricks, the wizard calling all the shots stuck behind the curtain with nothing substantive to show for any of his efforts.
Stoker will be polarizing, of that I have no doubt. Some will become so enraptured by Park’s visual aesthetic and by the seemingly effortless way in which he moves his actors across the screen little else will matter. For my part, sadly the scenario at the center of this Southern gothic whirlwind never took flight, pretty images and poetic blood-splatters not nearly enough to make sitting through it all worthwhile.
As return engagements go Yossi is something of a surprising powerhouse and an unquestioned success for Fox. The now established filmmaker shows just how much he’s blossomed and grown as a storyteller, his subtle touch a refreshing reminder that familiar stories can still intimately connect when they are delivered with honesty and respect.