It Follows is the best throwback to ’80s slasher flicks since the Me Decade ended. Eschewing the self-aware humor of Scream and Cabin in the Woods and skipping the camp qualities that marred so many of the reboots and re-imaginings and homages of recent years, It Follows embraces the horrifying nature of unstoppable, implacable evil.
Jupiter Ascending is a totally nuts, lavishly costumed, deeply funny, completely campy, ridiculously dense space opera that is, more or less, about evil businessmen trying to destroy the Earth and about love saving it. It is so nuts and lush and weird that there is almost no chance it will find an audience in theaters. It demands repeat viewings. It practically screams Basic Cable Classic.
“The best one-liner in Leviathan comes in the opening credits,” the New Yorker’s Anthony Lane noted in his review of the Russian entry for best foreign language picture at this year’s Oscars. “Reportedly, as much as 35 percent of the budget was supplied by government funding. This is like Kazakhstan using oil revenues to pay for Borat.”