Unfortunately, welcome insight into the physical and emotional experience of living with cystic fibrosis eventually gives way to increasingly improbable romantic and dramatic scenarios...By its third act, the film almost starts to feel like a parody of the most maudlin conventions of the “sick teen romance” genre.
It’s a watchably low-key family adventure, but that’s a low bar to clear for Nancy Drew, so well-suited to function as a gateway text—to Sherlock Holmes, Veronica Mars, Philip Marlowe, Brick, House, Encyclopedia Brown fanfic... almost anything involving advanced noticing.
Us is something of a frustrating watch, a visual and technical marvel that just doesn’t seem to know what it is. Unlike Get Out, which only swelled in impact as you left the theater, Us is best viewed on a visceral level, not an intellectual one.
Triple Frontier becomes a fascinating sustained exercise in absurdist triage, as one mishap after another forces the men to decide whether they’re prepared to throw away obscene amounts of money in order to save their skins.
It’s comparatively short and fast-paced by modern standards. Unfortunately, it also has a lackluster plot; bog-standard chase scenes and pew-pewing space ships; a notable shortage of interesting characterizations; and a fight scene set to No Doubt’s “Just A Girl” that is nowhere as awesome or as silly as it should be.
This is a slight film, unlikely to be remembered in the long-term by anyone but completists who discover it during deep dives into its leads’ respective filmographies. But, oh, what a giddy ride awaits them.
Paddleton takes its emotional cue from "Terms Of Endearment," expanding that film’s final stretch into an entire feature and replacing mother-daughter bonds with the deep but usually unspoken love shared by two male buddies.