The dialogue is dreadful, the human aspects so saccharine they’re practically laughable and tension is virtually nonexistent. To call this monstrosity anything other than a mess would be a kindness, so guess I’ll just say Act of Valor is a bad film and then leave it at that.
In Darkness took me to a place I wasn’t certain I wanted to go. By the time it was over, watching Socha, Mundek and the other’s collective heroism I couldn’t have imagined going anywhere else.
For as often as I laughed there were just as many occasions where I sat in silence waiting for something to happen, and when the film did finally try to resolve itself it did so in a way that felt trite, tired and blatantly dishonest. Wanderlust never captured my fancy, and the chance I’ll ever desire a second viewing is pretty much zilch.
Maybe Mackenzie’s latest minimalist high-concept opus will grow on me over time, will keep pounding against my psyche so it forces me to watch it again and reassess at a later date. Maybe a lot of things, but for right now I find Perfect Sense to be too ambiguous for its own good, and as doomsday scenarios go I’m not sure this is one I’ll ever be in the mood to contemplate again.
Pina is a celebration, a passionate dance of life, love and inspiration that transcends the screen to become something as timeless, and as hopeful, as the innovative and remarkable woman whose life it chronicles.
This divine hand-drawn animated adventure took my breath away, and by the time The Secret World of Arrietty came to an end all I wanted to do was run up to the projection booth and make the theatre start it over from the beginning.
This Means War isn’t an abomination, but that’s not exactly a positive, and I imagine a rabid seal smacking me in the face with its flipper for 90 straight minutes would be more entertaining than watching this romantically-challenged comedy ended up proving to be.
Journey 2: The Mysterious Island is nothing more than a CGI-filled, visually resplendent 3-D bore, and no forays to Atlantis or rides on Captain Nemo’s submarine would ever be able to convince me otherwise.
While not a total loss, Espinosa’s Hollywood debut is still a disappointment, and while Safe House will play just fine when it makes its inevitable appearance on Cable television, that’s not good enough to warrant the purchase of a matinée ticket to see this one in a theatre.