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.
Cosmopolis may be a mess, but it’s still something of a glorious one, and for those willing to take the ride they’ll have ridden shotgun in a journey they’re unlikely to forget anytime soon.
Spirited ParaNorman a Ghoulish Delight In the town of Blithe Hollow, 11-year-old Norman Babcock (voiced by Kodi Smit-McPhee) has a gift. Not that it’s one his parents Sandra (Leslie Mann) and Perry (Jeff Garlin) approve of, or something that is teenage sister Courtney (Anna Kendrick) finds remotely cool. Only the overly enthusiastic Neil (Tucker Albrizzi) […]
It’s all a great deal of fun, but there is also no avoiding that The Bourne Legacy, an expansion of the universe begun with The Bourne Identity, does feel a bit inconsequential.
The Woman in the Fifth is as coldly obtuse and emotionally distant as anything I’ve had the misfortune to come across this year.