Milly Alcock, thanks to all that posing working in her favor and the patience to hold putting the cape and big red “S” on her until the finale, builds to the kind of awe and presence the character needs. When we see her next, likely alongside Superman in 2027’s Man of Tomorrow, she’ll be in a different place and mindset from this adventure, and that promise counts as positive mojo—attitude and all.
Read MoreAs aforementioned, the premise of Rose of Nevada, bobbing our two strapping young men to the mercy of the seas of time, carries the “potential” of a story. Unfortunately, potential can only reach so far without actual progress. Try as George McKay can to unravel with his wide eyes to find an exit for Nick from this spiral, the oddness and downright tediousness of the plot never reach a true mindfuck level.
Read MoreLandship sticks to one solid episode of ordinary men surviving the worst of the worst for the man next to them, not medals pinned to chests or future storybook or silver screen glory. Dramatic license aside, witnessing the unbelievable made fluid and palpable—and the huge DIY effort to make it happen—becomes powerful enough without bigger patriotic swells unfurled for escapism’s sake.
Read MoreOne has to keep in mind that Leah McKendrick’s film is a romantic comedy, meaning, according to even the most refined and reinvented versions of the genre’s formula, a sticking point born from preventable mistakes or an unwashed Big Lie likely exists. In the case of Voicemails from Isabelle, the finagling of fate belongs to Wes. Like many rom-coms, a horses-holding “Let me explain” is needed.
Read MoreThat squint of doubt as a viewer is the main energy of Littermates, directed by short film specialist Scott Tinkman, making his feature-length debut, from his original screenplay partnered with Michael Woloson, who doubles as the cinematographer. Things seem too calm and mannerly, considering the chaos heard all around this property.
Read MoreIn The Death of Robin Hood poster did not already warn you, that right there is the brusque and dissentient attitude of this character and the entire film. Anything “merry” is as far away as the Sun during this drastic display of weather. Like body parts, the somberness can be cut with a knife or the deep strings and choral hymns from composer and folk singer Jim Ghedi, working on his first film.
Read MoreSimone Ashley’s shifting allure of evocativeness and conviction deflects predictability and shields the suspense very well, even if the rest of the cast cannot shake their tropes and witnesses and puppeteers at times. Some may argue that This Tempting Madness does not reach a radical enough tipping point to contend with that previous era of thrillers. Possibly, but Montgomery chose the wavelength of paranoia over titillation and distilled her own disturbing vibe just fine.
Read MoreWith a very welcome shift to put Jessie front and center instead of Buzz or Woody (Tom Hanks) for a change (though the billing in the credits suggests otherwise), the antique cowgirl’s spunky spirit and more impactful and wider revealed history steer this story to new, poignant places. In aspiring to do all that, Toy Story 5 finds its missing brevity again, in what might be the funniest entry in the whole series.
Read MoreFor the Carolina Caroline screenplay to even entertain these more mature themes is a testament to its quality and uniqueness amid the sea of film noir and neo-noir mirrors and imitators. Anyone can put a hot girl and a studly man together with a couple of guns and fire off some ill-advised bullets and Cupid’s arrows. Samara Weaving and Kyle Gallner, like their characters, forge something stronger than a fleeting fling, and that weight means the world.
Read MoreFor this movie, the foreboding existence of a big, bad sea monster capable of thorough destruction is enough. There’s no need to channel Michael Bay or Roland Emmerich and blow every cinematic wad in the world. No massive crowds are running for their lives ahead of massive property damage. No one is screaming, “It’s the Kraken!” That’s improved patience and confidence to make your own thrills count.
Read MoreViewers 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.
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