If only Seeking Justice was even moderately worthwhile. It has a rudimentary made-for-Cable feel that, while certainly not off-putting, is still rather laughable.
Kill List isn’t an easy film to categorize, to put into a mass-market box general audiences will quickly recognize. But it gets the job done and then some, and as an excursion into debilitating emotional-based familial terror I doubt we’ll see its like at any point throughout the rest of 2012.
Tell No One is the type of thriller viewers won’t want to keep quiet about. In fact, if they have any sense they’re going to be screaming to see it again.
Within the framework of this film it truly is No Country for Old Men, and as that harsh realization presents itself the only emotion left is a form of quietly overpowering grief.
Blade Runner is a brilliant amalgamation of sci-fi splendor and modern-day strum and drag, Scott melding it all into a poetic sensory symphony so spectacular it’s easy to see why the picture hasn’t lost a single bit of its timeless resonance.
Zodiac might just end up being Fincher’s masterpiece, and I’ll be curious to see how it withstands the test of time as I’m all but certain this is one thriller we’ll all be waxing poetic about for decades to come.
Few films are either as magical or as enchanting as Guillermo del Toro’s Pan’s Labyrinth. At the same time, few fairy tales are as perverse, terrifying or as deeply disturbing.
In a year of so many retreads and also-rans, where much of what’s hit the multiplex looks exactly like what was there just a month ago, The Prestige offers entertainment and wonderment unlike anything else currently in theatres, and that might be Nolan’s greatest magic trick of them all.
Cronenberg is a filmmaker willing to push boundaries and ask tough questions others don’t just shy away from, they sprint in the opposite direction in total fear. A History of Violence is no different.