Downton Abbey is for those who loved the TV series and were sorry to see it go, and there’s nothing wrong with a little fan service for Masterpiece Theater watchers in a day and age when every Marvel film wallows in it.
Although Peter Straughan’s stripped-down regurgitation of the story is faithful to Tartt’s narrative in the broadest sense of the word, it lacks elegance and depth. A Dickensian coming-of-age tale, The Goldfinch is at times dull and pretentious and never earns its 2.5-hour running length as an example of either art or entertainment.
To date, "The Insider" probably represents the most compelling whistleblower story to make it to the big screen and, although the subject matter is different, Official Secrets generates in the viewer the same sense of outrage.
Angel Has Fallen feels like it was cobbled together with cliched action scenes and circumstances overused by the once-popular TV series "24." Angel Has Fallen tries hard (and often succeeds) to topple the Kiefer Sutherland program on the “preposterousness” scale.
Ready or Not can be described as the fusion of dark comedy with the Grand Guignol. Unafraid to venture into cinematic taboo territory for its shocks and laughs, the movie doesn’t have many sacred cows. It’s the kind of thing we might have gotten if Monty Python had made a gothic-tinged horror movie.
Three-fourths of a good horror movie and one-fourth disappointing. The film, constructed as a series of episodic vignettes connected by an umbrella story, remains solidly engaging until it gets to the ending.
The film’s depiction of cataplexy is a reasonable representation considering how it’s being used (sufferers may understandably disagree). It’s too bad that so many of the screenplay’s other elements – like its treatment of basic human emotions – are badly mishandled.
The underlying idea is pregnant with promise but writer/director Shelagh McLeod, making her feature debut, is trapped by the time limitations of a film into cutting narrative corners and cheating to achieve an upbeat ending.