The Endless goes places that are both eerily unexpected and emotionally affecting, the all-encompassing monstrous beauty of this spellbinding sci-fi thriller impossible to understate.
Allowing Portman the freedom to deliver a performance that shifts and evolves like the landscape she is investigating, Annihilation is a piece of science fiction cinematic wonderment I’ll have trouble forgetting, it’s ultimate destination one of self-inflicted humanistic absolution worthy of additional examination.
Even if some of the plot points feel a little underdeveloped, and even though a few of the characters never spring to life the same way here as they do in the novel, the director still does Christie proud, his version of Murder on the Orient Express a gorgeously widescreen old school mystery I’d happily watch again right this second.
Reset works, there’s really nothing else to say, this ticking clock thriller a timely leap into the human abyss that proves once again a parent’s love for their child is as undying as it is also potentially unstoppable.
Time is never what it appears yet always remains of the essence no matter what transpires, Arrival inhabiting that place between the seconds where the future is an imaginative possibility and hope is the improbable foundation greatness is built upon.
Predestination, as whacky, odd and haphazard as it oftentimes might be, is just a heck of a lot of brain-twisting fun.
That Transcendence doesn’t ultimately work is decidedly a problem but that doesn’t make the experience of watching it any less riveting, and as failures go this is arguably one I’ll be thinking about and pondering for many months to come.
Alex Cross is a bad film, and that’s all there is to say on the matter.
Early on House at the End of the Street had me intrigued. By the midsection I was completely captivated by it. But by the end? By that point I was ready to throw things at the screen and howl my disapproval at how wildly off the rails this Hitchcockian enterprise in suspense and terror had suddenly become.