Review: Despite critical acclaim, ‘Manchester by the Sea’ sinks
If “Manchester by the Sea” was a fairy tale, it would be the most downbeat one you’ve ever heard.
If “Manchester by the Sea” was a fairy tale, it would be the most downbeat one you’ve ever heard.
British film critic Mark Kermode once said of “Pan’s Labyrinth” that if a film that good were to be released every 10 years, then he would happily carry on being a critic forever.
After watching “Oldboy” and “The Handmaiden,” I think it’s fair to say that director Chan-wook Park, who directed both films, has a fascination with extremes.
I love “Star Wars.” I always have, and I always will. And, like most fans, I was deeply impressed by how well Disney and J.J.
Within the world of film, the Academy Awards (Oscars) represent the pinnacle of an actor or actress’s career.
Who would have thought that the most impressive science fiction film of 2016 would not be “Rogue One: A Star Wars Story” but instead Denis Villeneuve’s thought-provoking, psychological and deeply moving “Arrival.” Villeneuve has already proven himself to be an extremely talented director with films like “Incendies” and “Sicario.” Despite this, I was skeptical when early reviews called “Arrival” a new sci-fi masterpiece.
Because its story simply isn’t conducive to that approach, “The Girl on the Train” pales in comparison to other great films, leaving it to slink into cinema’s corner of obscurity.
Making a film about Barack Obama during his presidency is a bold move. Premiering that film only a few short months before the 2016 election — well, that’s just downright audacious.
As Jeru the Damaja’s profanity-laced rap song “Come Clean” began to play over the opening credits of “Morris from America,” I could practically feel every person over 60 in the theater clench up inside.
“Hell or High Water” may not be for everyone, but I think that’s honestly for the best.