Those that don’t have the capacity to find some sliver of perverse humor in point-blank headshots, projectile blood vomiting, aggressive rape scenes, and cold blooded murder probably won’t like The Hateful Eight. That’s their loss, though, for the rest of us that have followed Tarantino on his cinematic gallop through the last 20-plus years have come to expect nothing less, and in the director’s eighth offering, he most certainly does not disappoint.
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Although there are discernible arcs and some level of growth for a few of the characters, ‘Youth’ is all so on-the-nose and force-fed that the whole affair comes off as decidedly manufactured and plastic.
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The Force Awakens is an action film. It feels like Star Wars but it isn’t Star Wars.
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An expertly crafted drama with impeccable performances, a tight script, stunning set and costume designs, and a brisk yet thoughtful pace, director Todd Haynes’ newest film, Carol, soars.
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At nearly three hours, one laments the wasted opportunity, for there is ample time, directorial muscle, and acting horsepower to walk the line between cinematically engaging and broadly digestible.
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For months now, people online and off have been speculating, hoping, disavowing their interest in Star Wars: The Force Awakens. So with so much non-film related stuff swirling around J.J. Abrams latest installment of the Star Wars serial, how is one to offer any insightful critique of The Force Awakens?
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As a spectacle, as pure entertainment, The Force Awakens delivers. Its pace is near break-neck, but it rarely feels rushed. The climax manages to feel bigger-than-life and starkly intimate at the same time. And people will be talking about the movie’s big plot points for months.
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Brooklyn is cinematic pea soup. It’s groggy, flavorless and utterly unremarkable. Not even Nick Hornby’s script or Saoirse Ronan’s performance can save it.
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A single woman takes the place of a stranger’s blind date, which leads to her finding the perfect boyfriend.
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Room is a powerful drama that signals the arrival of Brie Larson as a dramatic actress.
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Daniel Craig returns for possibly his final outing as James Bond. That’s a good thing.
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It has so many internal references and so much in terms of pre-knowledge groundwork that it works as a Peanuts film, but somehow it still utterly fails at feeling like one.
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Guillermo Del Toro tells a ghost story the only way he knows how.
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Aaron Sorkin returns to Silicon Valley this time with director Danny Boyle for Steve Jobs, a movie that is less a biopic and more a collection of three one-act plays that are less concerned with the man and more concerned with perpetuating the legend of the magnetic, charismatic, dreamer who founded Apple and revolutionized computing.
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