Leap! showcases loads of potential, and no question its female-driven story of accomplishment and resilience has plenty of value. But neither of those elements is enough to overcome all of the missteps, the resulting film a substandard dance of aggravation that I’m still moderately upset about.
While I don’t think people should rush out and give The Only Living Boy in New York an immediate look, I certainly wouldn’t begrudge anyone from doing so if the opportunity to snag a cheap second-run matinee ticket might arise, Thomas’s story having just enough in the way of merit to warrant a cursory glance.
Patti Cake$ soars into the stratosphere like a shooting star spurting truth in its wake as it streaks across the sky, this drama a stunning, entertainingly electrifying crowd-pleaser deserving of a standing ovation.
Sheridan takes a rather simple story and spins it right on its head, crafting a saga about fatherhood, family, race, poverty, isolation, determination and life in America today that’s as haunting as anything I’ve seen this year.
Perfectly animated, emotionally pure, In This Corner of the World is an outright marvel, watching it come to life as it does with such authentically subtle exactitude an extraordinary achievement to be sure.
Logan Lucky is as giant an August surprise as anything I ever could have hoped for, the delight I felt watching only exceeded by the knowledge audiences were going to get to experience all this jovial throwback ebullience for themselves starting this weekend.
I left the theatre. What could have been an interesting foray into a new world of killers, bodyguards and international enforcement agents instead proves to be a mindless piece of fluff and not much else, and for a story about lethal marksmen who never miss their shot The Hitman’s Bodyguard up being well wide of the target the majority of the time.
Much like last year’s Ouija: Origin of Evil was a prequel that proved to be a monumentally massive improvement over its anemic low budget horror predecessor Ouija, Annabelle: Creation somehow, some way bucks the odds and proves to be a superior motion picture to its woeful 2014 precursor Annabelle.
There’s little room for the characters to breathe, their collective journeys never evolving in ways that feel authentic or genuine. Jeannette’s transitions happen because the story requires them to, not because they feel organic to her own personal story, diluting the inherent power of her resilient perseverance to achieve by a substantial margin.