Based on the story of a man beaten so mercilessly he had to construct a fantasy world in order to survive his great pain and suffering, Robert Zemeckis’ insipid Welcome To Marwen is a painfully schmaltzy misjudged disaster, and superficial retelling that dishonors a layered and agonizing story about trauma.
This is a film that’s wantonly absurd and even silly, and yet, bubbling underneath it all, Clara’s Ghost never takes its eyes off its protagonist or our empathy for her even when she pushed to the edge of the frame both literally and figuratively. And Niedert Elliott’s performance is haunting, perfectly capturing that ambiguous space between comedy and drama that gives the movie its edge.
Holofcener knows human pathos, the melancholic, absurdist tragedy of it all, the laughter, the tears, the dark biting irony. She understands human behavior and her sharp, well-observed ‘Land Of Steady Habits’ is as lovely and near amazing as anything she’s made thus far.
A movie about manhood, brotherhood and the unexpected bonds of fraternity, explored in all their brutality and twisted humor, The Sisters Brothers presents the cruel hostilities of the world, the innocence lost in the madness and the possibilities of a humanity still to be found scattered through the debris of American carnage.
Fuqua’s movie, unqualified to create anything other than superficial poignancy, is empty, tiresome and uninteresting, satisfied with repeatedly communicating that if you exploit the innocent, harm the oppressed or abandon your code of conscience, Robert McCall will be there to set things right and severely punish you several times over.
It’s an inferior, often frustrating film, it’s hard to root for, and its consideration of its people of color is dubious, even as it features them as protagonists. But nonetheless, there’s some value, especially in is visceral qualities and the chilling nihilism of its violence.
Ant-Man & The Wasp somehow manages to organize laughs, action, theme, small MCU connections and even fairly touching ideas about family, responsibility and what it means to be a hero all housed inside of an undersized blockbuster.
Ultimately, the latest Marvel event is ‘Civil War’ on steroids and as enormous a spectacle as you’ll ever see on the screen that’ll leave you shook. For a movie plot this thin and basic, ‘Infinity War,’ is remarkably gripping, supersized entertainment that should exhilarate audiences, electrify the box office and continue the Marvel hegemony for years to come.
Unexceptionally directed by Roar Uthaug (Norwegian hit “The Wave“), Tomb Raider is superficial even for a mainstream tentpole, clumsily and unpersuasively put together and tests and breaks suspension of disbelief at every turn.
Annihilation is mesmerizing and its awe-inspiring conclusion will leave your mind blown and splattered against the wall. In its final, surreal biopsychological moments the movie goes to an astonishing interstellar gear.
While it’s Lawrence’s most mature and relatively subtle effort to date, it’s also, unfortunately, a slog. The director’s well-intentioned patience ultimately means nothing when its interminable pacing makes the movie feel twice as protracted as its longwinded, two-hour-plus running time.