It’s a weird little genre, the sick-teen romance. “Five Feet Apart” winds up as just a pedestrian entry in it, because it tries way too hard on the melodrama front. Being a teenager is difficult enough. Being a sick teenager is presumably that much harder. Being a teenager in “Five Feet Apart” means suffering from something else, in addition: overkill. And that’s deadly.
How you feel about the film will depend on how you feel about politics, probably. But don’t let partisanship get in the way of appreciating another inventive film from McKay, and some truly brilliant performances. Surely on that, we can all agree.
David Lowery’s film is about as quiet and patient as what is ostensibly a caper movie can be. Yet its engine never idles, in large part because Redford, at 82, remains a movie star, someone to whom we are drawn, even as he is politely robbing a bank with a note, a gun and a smile.
McEwan, as is his wont, aims for something bigger here, the bigger questions — the biggest, even, of life and death. Thanks to Thompson’s outstanding performance, he mostly achieves what he sets out for.
If Greene had simply told the story in more straightforward documentary fashion, Bisbee ’17 would be an interesting film. By telling the story within the story, he’s done something more: He’s made an urgent, powerful one.
Gleeson is terrific as Faraday struggles — with his feelings for Caroline, with her feelings for him, with the notion that some of what’s going on at Hundreds Hall may not have a rational explanation. The evolution of his character is subtle, but hauntingly effective.
What's most enjoyable about Crazy Rich Asians is that, while it never forfeits its sense of responsibility, it also never forfeits its sense of fun. Chu wants you to slobber over the settings, to imagine what a life like this might be like — and to ensure that being Asian is a part of that.
The movie is a big disappointment, because ultimately Slender Man does not get the full-on creep-out treatment such an intriguing character deserves. Here he's just a generic horror bad guy, doing standard horror-bad-guy things. He could be anything, really, and therefore winds up, like the movie, being not much.
Whether you like The Meg depends on how much you like seeing Jason Statham in and out of a wetsuit, doing action-hero things. He's certainly good at it, and he's the best thing about the movie, not that the competition is particularly fierce.
Dog Days isn't so much a movie as an emotional delivery system, meant to make you laugh a little, cry a little and say, "Awww" about 10,000 times. On that front, it's a complete success. As an actual film, well, not so much.