I’m sure Bodies Bodies Bodies will have many enthusiastic fans. I’m just at the stage in life where I don’t take much pleasure in watching the kids hurt themselves.
Bullet Train’s biggest feat is its own understanding of merging its chaotically Looney Tunes-level of violence with some genuinely interesting storytelling turns, and its use of Brad Pitt’s comedic sensibilities to their utmost.
It’s a story about a storyteller who is creating a story about how mythology (stories) are created. It is also an acute reminder of how easy it can be to hide secrets in plain sight.
It’s unlikely that someone’s going to see The Reef: Stalked and go out and murder a bunch of sharks. But the fact that we tend to see nature as victimizing us rather than the other way around does have an effect on the present and future of the planet.
Wrong Place is a convoluted mess that struggles to connect disjunctive plot points as they dawdle their way to the movie’s inevitable conclusion.
Jones does her best with what she has to work with, and the movie may still strike an emotional chord with viewers if they don’t look too closely.
The effort is appreciated as far as it goes. But it doesn’t matter how enthusiastically you dial if you end up with a bore on the other end of the line.
No amount of cowboy bravado could pump life into director Naveen Chathappuram’s debut film.
It was just unofficially Harold Washington week in Chicago as the city celebrated the 100th anniversary of his birth. That’s right—had Harold lived, he’d have been 100 years old on […]
In a crowded field of lone-man operators-against-the-world action films, The Contractor doesn’t do anything well enough to finish the job.
It’s surprisingly entertaining in its failings, and makes for a great date movie if your idea of a date movie involves frequently looking in utter disbelief towards your date for a shared moment of, “Wait, that really just happened?”
About 30 minutes into the film, the opening credits finally roll, and we’re off, taking a morbidly comedic turn towards the truly unsettling.
Exorcisms, demons, girls wildly dancing in their nighties under a full moon, zombification, reincarnation, witches, ghosts, and possession all come into play as the plot lurches along.
Since 2017, January Giallo has celebrated the subgenre of Italian cinema popular in the 70s and 80s, known for applying striking psychedelic cinematography and shocking graphic violence to whodunit plots.
What del Toro so strikingly presents is a morality tale of how the desire to rectify the past can overwhelm our best judgment in the present, leading to disastrous consequences.