Viewers of Iglesias’s film may or may not immediately subscribe to the notion of spirits and ghosts among us, which will strengthen or fray their connection with the story, depending on where they fall. There’s not so much a need for someone to take the matriarch’s place, but more of finding someone to match her presence.
Read MoreWhat isn’t problematic is Forge’s suave and efficient screenplay from Jing Ai Ng, making her feature debut after an eight-year resume of promising short films. The smoothness comes from scaffolding the idiosyncrasies of the underground art world, fueled by favors and authenticity. By empowering the prowess of the Coco character, Ng showcases this titular crime’s uniqueness, where not just anyone can pull it off.
Read MoreWhen done right, there’s sensory excitement between noises that rattle seats and silences that destroy our nerves. Tuner, the narrative directorial debut for Oscar-winning Navalny documentary filmmaker Daniel Roher, recognizes this second type of potential power and seizes it for a nifty thriller that deserves just as many big screens as the summer blockbusters it is poised to swim against.
Read MoreThe seismic disclosure recolors the sentiment, setting, and stakes of Magic Hour instantly. Marshall and Erin’s mother (fellow treasure and TV vet Susan Sullivan) are doing their best to provide Erin with this remote getaway of calm solace and granted space. Other people enter Magic Hour to guide Erin through her pain, but the one figure she’s responding to and divulging her worries to the most remains the present spectre of Charlie.
Read MoreIf thespian glory is indeed the ultimate goal, we are presented with a determined and vivacious candidate ready to knock the socks off the world. Yet, we are all too aware how difficult and woolly this road may be. Through this collaborative screenplay effort by Smith and Stam, Hekla takes audiences into these casting sessions filled with professional pitfalls and unexpected hoops to craft a gem of a character arc.
Read MoreThe title of the film reveals the desired end destination for Magaro’s matriarch. The pleasant Nevada weather allows the windows to be rolled down and burned CDs to blare old family favorite songs. Smiles sneak in to make Omaha a proper road movie with a glimmer of hope. Yet, for every blissful moment of optimism granted by the long highway carrying them to the Great Plains, reality remains inescapable in both the rear-view mirror and the windshield aimed forward.
Read MorePut a good cast to root for in any a disaster scenario, and we’re intrigued. Hire Hell or High Water director David Mackenzie, and we’re filling up the popcorn bucket to witness something with edge. Unfortunately, Fuze erratically combines multiple tonal narratives and throws in an extremely misguided third plotline to smear whatever doesn’t explode when the bomb detonates.
Read MoreLike most adaptations of Hamlet, Aneil Karia’s take lives and dies, literally and figuratively, by the lead performance coming from his top muse and collaborator. Through Riz Ahmed, all the private asides and whispered portending, venting, and plotting still stir the Bard’s vengeful pot, even with simplifying trims from Lesslie. This is a well-deserved and provocative showcase for Ahmed. He’s the reason to witness and appreciate this film.
Read MoreAt the 57-minute mark in Heads or Tails?, Reilly’s transported icon speaks the promise again to say, “Mark my words, boy, this is going to be quite the story.” At that point, with only 50 minutes to go of running time, there’s a good chance that, outside of the charismatic involvement of Reilly, you haven’t felt or fallen for the ensured charm of the film.
Read MoreTheir competing attitudes of care are warranted, but take away from the cinematic possibilities of the surreal and existential, like that aforementioned billiards scene. Through all the external squabbling around him, the impressive lead performance of Hugo Armstrong shines. Sam Bullington rightfully steals his share of the spotlight, but the gravitational weight of Watching Mr. Pearson always moves through Armstrong.
Read MoreWithout that type of dramatic weight that pushes harder than a liar’s loose regret, the most performance range we get out of Emanuelle Chriqui and Hayes MacArthur is a minor shift and transformation towards a balanced plane of apology when disagreements create a verbal blow-up. The pain registers differently between the two as the reservation clock is running out.
Read MoreSome of the best acting moments in any given film can happen without dialogue. A facial expression or a piece of body language can mean as much as a multi-page monologue. Those performers who can nail that moment are onto something special in their roles. When possible, Fantasy Life, from writer-director-star Matthew Shear, seeks to make the most of those wordless character statements.
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