|
Here
|
Like
Zemeckis' shot selection, the drama here is inert.
|
Hitpig
|
Hitpig
is so busy with action and jokes that those elements define the entirety of the
movie's personality.
|
Absolution
|
Things in Tony Gayton's screenplay
become a bit too convoluted for their own good.
|
|
A
Real Pain
|
The film is funny and insightful and
affecting on both an intimate and a larger scale.
|
Lost
on a Mountain in Maine
|
The documentary technique becomes something of a hindrance
to the actual drama of this fictionalized account.
|
Emilia
Pérez
|
The approach definitely makes the film narratively different and stylistically exciting.
|
|
Time
Cut
|
A slasher movie with a time travel element should be at least a little
fun, right?
|
The
Gutter
|
Just when all of the setups and
characters should be reaching their peak, the material stagnates.
|
Juror
#2
|
Juror #2 becomes a solid courtroom drama that, sadly, doesn't quite succeed as the
intimate, morally complex thriller it clearly wants to be.
|
|
Cellar
Door
|
Cellar Door is so
indirect about its plot, characters, and ideas that it feels as if the whole
thing is one big cheat.
|
Martha
|
By the end, the movie isn't simply telling Stewart's story.
It's telling us exactly what we should think of that story.
|
Music
by John Williams
|
Music by John
Williams is succinct and sweet, and as an ode from friends and fans, it is
really, really sweet.
|
|
Chasing
Chasing Amy
|
It's something how Chasing Chasing Amy expands so much
over the course of its narrative.
|
72
Hours
|
It's very strange to see a movie that doesn't
have much in the way of a plot somehow find a way to do even less with it.
|
Anora
|
Anora
is slightly disappointing, coming from a filmmaker capable of much more than a
comedic lark, but for what it's trying to do, the film is still entertaining.
|
