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.
Clooney’s Monuments Men a Well-Intentioned Disappointment George Clooney’s latest directorial effort The Monuments Men is both too much and too little both at the exact same time. The film is an episodic endeavor attempting to tell a story much larger and more fragmented than its 118 minute running time allows to be easily processed. At […]
This is the real deal in action theatrics, Bigelow’s The Hurt Locker a pulse-pounding dynamo that puts all of Hollywood’s meager Summer 2009 offerings to immediate shame.
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.