But it is a ten minute, seemingly one-take chase-fight-shoot-escape-fight again set piece beginning inside a high-rise stairwell and culminating in a speeding car that is the true show-stopper, and without a doubt it is one of the best sequences of its type I’ve frankly ever seen.
By putting the two main characters first, by making sure they are well-rounded, complex and believable, Power allows Killing Ground to resonate in ways that are uncompromising in their primitive concentrated destructiveness.
Lady Macbeth strikes hard and digs deep, Pugh’s performance alone a superlative bit of ruthless magnificence that lives up to the title character’s Shakespearean namesake with unforgettable viciousness.
The Midwife ends up delivering on all fronts, making it a drama all involved should feel vast amounts of pride assisting in the birth of.
A Ghost Story is about patience, it is about resilience, it is about who we are as human beings on levels physical, spiritual, practical and metaphorical, about how we drift through the minutes of our lifetimes not ever truly realizing how precious a single second is until it is possible too late to matter.
Dunkirk feels at first blush like an all-timer, and I have difficulty believing that initial assessment is going to change on my part anytime soon.
Girls Trip is a heck of a lot of fun and that’s all there really is to say on the matter, Hall, Latifah, Haddish and Smith a comedic dream team I hope get the opportunity to reunite soon.
I find that I want to like Valerian and the City of a Thousand Planets more than I actually do, even if the stuff that’s great about the film is downright extraordinary.
“I made [A Ghost Story] so intuitively and so quickly and organically that I never had a thesis statement prepared when I went into it. I still don’t. I still watch the movie when I see it as an audience member.”
– David Lowery