The bar left by the incredible Godzilla Minus One was impossible to clear, and sure enough Godzilla Minus Zero failed to clear it. It’s still an effective kaiju epic, to be sure: the action is spectacular, the effects impressive, and it has hints of brilliance here and there that simultaneously remind you of the genius of the previous movie and draw attention to the ways in which this one falls short.
Possible Love is not an easy watch, not in the sense that anything harrowing happens, but in the sense that it asks something of you: you have to be willing to engage with its questions and find your own answers, because it is not interested in presenting you with preformed conclusions.
Overall, Whalefall is an effective, well-paced horror thriller, with the disclaimer that I really did have a terrible time of it, entirely because is so skilled at building the anguish of its protagonist. I guess that’s a recommendation with an asterisk!
A consensus of some sort had formed around Aaron Sorkin: that he is a good writer but a bad director. Well, after being afforded more opportunities than most, he has now proven that he can also be a bad writer.
You’re in for a great time at the movies! (And for more than a little bit of stress and anguish, but we’ll get to that) If you’ve never played any of the many Resident Evil games -some of which are good- or seen any of the many previous Resident Evil movies -none of which are good- you’re in luck because Zach Cregger’s otherwise great horror comedy has precious little connection to the franchise.
Digger’s position in the zeitgeist calls for a level of hyperbole that I am unable to muster: being a massive box office bomb (the most boring way there is to talk about movies) by an auteur, a lot of people have rushed to paint it as an unwatchable disaster, which prompted others to defend Alejandro González Iñárritu as a visionary whose work will be reappraised as genius in the future.
I was transported by how alive La Bola Negra feels, how full it is of passion and vim.
Leviticus follows The Backrooms and Obsession in a number of ways; for starters, in being the first feature film of a young director (Adrian Chiarella), finding unexpected critical and commercial success on a shoestring budget, or the one that interests me more: making good horror with a compelling allegory that nevertheless operates on only one level, the surface.
Living the Land is extremely slow and a tad too long, so it’s not for everyone, but I found it to be deeply moving, with a beauty both aesthetic and thematic.
This theatrical drama about a tortured pop star and her estranged friend didn’t quite work for me.
