Rambo lumbers to the finish line in the flaccid fifth installment, which is a Frankenstein’s monster of badly photocopied references to the previous movies, limply strung together with the laziest of screenplays.
Despite its audacious premise and style, Riot Girls feels at times underwritten, a few of the performances under-baked. Kwiatkowski and Iseman carry the film, but such a sprawling world is heavy lifting. Nevertheless, Vuckovic ably showcases her fetchingly energetic aesthetic.
The Goldfinch is both too long and too short; dull to watch but scanty on the details about logistics, character, and just how anything of note actually occurs. The mystery of the film is something to be endured, rather than solved. But the real mystery is our leading man. We never know who Theo is as an adult, or if we’re on his side, or why we should care.
The stellar cast elevates the schlocky charms of this thriller. It’s well-paced and cut like a nighttime soap, jumping between characters as they explore this puzzling mystery over the course of a couple of days.
There’s more deliciously creepy anticipation in “Chapter Two,” but once again, Muschietti buttresses up the spook factor with too many computer-generated monsters that inevitably become banal. Through it all, Hader cracks wise, Ransone worries, Chastain emotes, McAvoy broods and monsters jump, but we lose the most important thing of all: the Losers themselves.
At the heart of the “Has Fallen” franchise is the affection between men, and Butler has always shared the best chemistry with his male co-stars. That spark in “Angel” comes from Butler’s scenes with Nick Nolte, as his father, Clay, a veteran living off the grid.
While the mocking tone mostly undermines any trenchant commentary, the strongest impression Ready or Not leaves, thanks to Weaving’s eye-rolling, primal-screaming, evil-giggling performance, is of the cathartic, transformative female rage at the center of it all.
Stupnitsky and Eisenberg have deftly mined this space for laughs, and the seasoned comedy vets (“The Office,” “Year One,” “Bad Teacher”) deliver a joke-dense and highly original coming-of-age tale that’s sweet and sour in all the best ways.
It’s a colorful, cuckoo-crazy, sometimes funny, often bewildering experience, to which you slowly become numb with every incongruous shot of Leonard the pig’s round, green butt. Come to think of it, it’s the kind of entertainment that could only be enhanced with a little green.
The action in this live-action adaptation is sanded down and decidedly safe. Bobin loses the geographical thread in the film’s climax in and around Parapata, but it’s never about the visual thrills, it’s about the girl at the center of it all.