If you care about M. Night Shyamalan’s movies and hope to avoid having his latest film spoiled for you—and its twist will be spoiled for you on Twitter or Facebook or somewhere else; it’s too good not to share—then you have to see Split on its opening weekend. In fact, you should leave work or home or wherever you are and hit up a multiplex now.
Rogue One sometimes feels like it’s trying to have it both ways with fans of the series. The opening moments illustrate the problem well. We see the Lucasfilm logo and the ten-word introduction telling us when and where we are, roughly. But there’s no crawl informing us of the action preceding the film, no fanfare, no theme. But then we open with a tinkle of music, the camera focused on a small ship in the shadow of a larger body, point of view floating down, an image recalling each of the previous seven entries in the series.
I’ve noted before that I don’t much care for musicals. I’m not a stickler for reality in my filmmaking, exactly; it’s just that the particular stylization of musicals has always left me feeling somewhere between “cold” and “actively annoyed.” With the exception of cartoons, I can count the number of musicals I actually enjoy on one … finger.*
One of the benefits of awards season is getting to catch up on smaller films that floated through theaters without much fanfare. Krisha is one such flick; it played for a few weeks but never hit more than 26 theaters at a time, grossing just under $145,000 in its short run. But it’s picking up some awards season buzz, and for good reason: The debut feature from Trey Edward Shults is among most engrossing 80-or-so minutes you’ll see all year.