It’s always dangerous to wonder about what a film might have been rather than contending with what it is, but in this case what it is, is so bland, and so stolidly workmanlike in execution that even the most dedicated viewer might find her attention sliding off DP Zac Nicholson‘s ration-book-colored images and wandering to the what-ifs.
With a popular subject, and some downright corny visual devices, The Inventor doesn’t knock it out of the park as neatly as some of Gibney’s other works. Still, it’s a worthwhile and damn entertaining addition to the developing Elizabeth Holmes canon that makes up for its flaws with undeniable watchability.
It’s not a bad film, by any means, as there are definitely worse action movies to spend 90 minutes with. Yet, there are so many other, better, martial art films out there, with many including at least one actor from this film.
For as impressive and smart as the film is throughout, the weightlessness to the drama keeps it just out of arm’s reach of films that masterfully examine loss like “The Changeling,” but the craft at least firmly plants it in the upper-tier of contemporary horror remakes.
On paper, Five Feet Apart has all of the components to fit squarely into the sub-genre of films that have come before it. In execution, the teen romance never packs the emotional wallop it so obviously, self-satisfyingly, believes it does.
It is a little peculiar as to who the audience for “Good Boys” is exactly. It’s too vulgar for kids who are the age of the film’s characters, and while an adult audience will likely find much to admire and potentially even teach their kids, some of the film’s more sophomoric elements could get a little grating.
It’s a consistent laugh out loud comedy with a big heart that should please all kinds of audiences (and the rare rom-com aimed at both women and men and not just either or). “Long Shot” isn’t your typical Seth Rogen stoner comedy (not that those aren’t great) and is all the better for it.
The hedonism on display is very much of a piece with “Trash Humpers” and “Spring Breakers,” but in a surprising change of pace for Korine, the film is more at ease with itself, and more emotional than either of those two provocative efforts.
As a sleekly-directed, crowd-pleasing horror film, it’s efficient, terrifyingly thrilling and a lot of fun. It’s the kind of movie that will be discussed and debated for decades to come, and perhaps thirty years from now, as things continue to descend into utter chaos, “Us” will be looked back in retrospect as prophetic. As it stands now, it’s fascinating, a little maddening, and entertaining.
Moreso than any other movie in the back half of Marvel’s first decade, it’s tough to shake the feeling that Captain Marvel is an extended prologue to a story that is still off on the horizon. This character has the potential to be Marvel’s answer to Superman, with all the questions about power and ethics that implies, but her story is rushed here, and sometimes forced.