The Light Between Oceans is growing on me. Derek Cianfrance’s latest might lapse into melodramatic self-indulgence at times, but more often than not the emotions driving things remains honest and pure.
Inferno played better at home than it did in a theatre, and for fans of this series I cannot imagine they’ll be all that disappointed if they choose to give the film a look. I don’t think it’s particularly good, but it is incredibly easy to watch, and on that front I guess I’d have to call this The Da Vinci Code and Angels & Demons sequel something of a moderate success.
20th Century Women is a sparkling, intimately moving drama of growth, friendship and family that springs to life with invigorating authority, its easygoing truth rapturous to behold.
Split is an aggressively nasty bit of pulp filmmaking, all of it building to a conclusion that’s as insidiously open-ended as it is fearlessly cathartic.
Insanely Silly Xander Cage Makes a Satisfactorily Extreme Return After faking his death and more than a decade away from the spy game, government agent Jane Marke (Toni Collette) has tracked down the elusive Xander Cage (Vin Diesel) with designs on bringing him back into the espionage fraternity. A team of crack operatives led by […]
There’s a reason Sleepless has been dumped into theatres by its studio with precious little fanfare, its level of ludicrous mediocrity almost impressive if it weren’t so gosh darn disastrous.
But the three main actors have trouble delivering performances I could even somewhat feign interest in, while the script itself is a compendium of clichés and boneheaded lunacies that grew increasingly tiresome as the narrative progressed. The Bye Bye Man just doesn’t work, and the likelihood I’ll think or say this unremarkable film’s name again anytime soon is nominal at best.
Live by Night, for all its technical genius, even with such a strong, electrifying cast, just isn’t very good, and as such watching it shoot so many blanks for over two full hours is nothing short of a colossal waste of time.
Young kids with a fondness for Nickelodeon and Disney Channel high-concept comedies will undoubtedly be elated, and if they’re inspired to creative endeavors after watching this that’s at least one good thing to come out of all this madness we all can applaud. Monster Trucks is dumb, that goes without saying, but it isn’t terrible, and as January victories go that’s hardly insignificant.