Summerland is the type of motion picture that gives me hope things are going to turn out all right, not just for the characters living inside this tale, but in the here and now for all of us as well.
The Outpost wrecked me, and when it was over I was so exhausted and had gone through so many tissues I needed to slap a little water in my face to regain my composure.
“This story was about regular dudes. Guys who are not necessarily career military…I thought that was very interesting. I’m making a movie about people you don’t make movies about. That’s exciting.”
– Rod Lurie
1917 is magnificent.
Maybe Midway will play better at home, but as far as theatrical experiences covering a pivotal moment in WWII history are concerned Emmerich’s drama fails to hit the target, and I find this disappointing to say the least.
Waititi balances the horrifying and the hysterical with relative ease.
I admired a lot of what Krauss was attempting, and I certainly think his skills as a filmmaker are beyond reproach. But none of that means I also feel his debut The Kill List is essential, and even if this heinous historical event is worthy of exploration the director already did that back in 2013 with his stunning documentary. I can’t help but feel people should just watch that instead.
War for the Planet of the Apes is one of the great summertime tentpole adventures in recent memory, Reeves delivering a science fiction epic almost certain to stand the test of time.
Monsters: Dark Continent is in many ways an attempt to transpose Full Metal Jacket or Black Hawk Down levels of realism into what initially appears to be nothing more than a B-grade riff on elements drawn from science fiction stalwarts as diverse as Jurassic Park, War of the Worlds and “The Twilight Zone,” and for my part at least I found this particular meshing of genres and ideas continually fascinating.