I still have no idea how all three of James’s books became best-sellers or what audiences saw in Fifty Shades of Grey or Fifty Shades Darker to make them box office hits. Thankfully, now after watching Fifty Shades Freed I likely never have to wonder about any of that ever again, this trilogy almost certain to disappear into the dustbin of history before February has even come to an end.
For all its potential, as imaginatively creative as the creature design might be, The Midnight Man isn’t any good, watching it a tedious game of disappointment and frustration I wish I hadn’t played.
Peter Rabbit feels nothing like Beatrix Potter’s timeless books, the majority of the modern elements injected into the story to make it current hitting me as being nothing short of ugly, coarse and vile.
The audacity of a Netflix premiere a little over two hours after a Super Bowl trailer presentation aside, there’s precious little about The Cloverfield Paradox that rises to the same heights as the previous two entries in the anthology series soared to, making this one more of a uniquely weird curiosity than it is anything compellingly substantive.
Elevator to the Gallows is a movie that the word “masterpiece” was invented for.
“I think it’s a fun ride. It’s a great action film and a solid family drama. I think that’s a great entertainment combination.”
– Lin Oeding
The feature-length directorial debut for veteran stuntman and stunt coordinator Lin Oeding (Straight Outta Compton, The Equalizer), the minimalist, existential thriller Braven is one heck of an entertaining ride.
The filmmakers manage to maintain a level of dramatic comedic absurdity throughout that’s both humorous and heartfelt, granting Freak Show an emotional resonance that’s somewhat surprising.
Yet, even at an epic 142 minutes, gosh darn it all if I didn’t still get a kick out of watching The Death Cure.