I know that subtlety isn’t really Spike Lee’s thing, but even with that knowledge, I was still a little surprised by how didactic BlacKkKlansman managed to be—and how much it damaged the overall tone and flow of the picture.
Mile 22 doesn’t deal in platitudes so much as luxuriate in them, elevate them. James Silva (Mark Wahlberg) and his team of American paramilitary operatives are “option three”—when diplomacy and the military fail, you call in Overwatch to clean up the mess.
The Meg is about a giant shark escaping from the nether regions of the ocean’s floor in order to kill a handful of people before itself being killed.
What a strange movie Christopher Robin is.
Mission: Impossible — Fallout is, like every other entry in the M:I series, a well-paced action-thriller providing ample fodder for its ageless star, Tom Cruise, to wow us with virtuosic stunt work wrapped up in a modestly complicated plot.
Unfriended was an interesting cinematic experiment: a horror movie told in real time using nothing but what we can see from a laptop screen to provide the viewer with information.
After looking up show times for the film on my 128GB iPhone 6, I headed over to the Mosaic District in Fairfax and parked underneath an apartment complex where one-bedroom units start at $1,856 a month.
I’m in the main auditorium at the AFI Silver in suburban Maryland when the curtains close on the big screen while the lights dim, but don’t extinguish entirely. A warbling, haunting tune burbles out of the speakers: The overture for 2001: A Space Odyssey serves as both a warning to those still milling about outside the theater and a tone-setting piece of music, an unsettling jingle that signals scope of the picture we’re about to see.
I’m not entirely sure I could recall for you the plot of the first Ant-Man film. There was something about a thief played by Paul Rudd stealing a suit that makes him small from a scientist played by Michael Douglas who had a daughter played by Evangeline Lilly and also the aforementioned characters wanted to stop Michael Douglas’s work from falling into the hands of the congressman from House of Cards, who was evil because capitalism.
This essay discusses plot points of Sicario: Day of the Soldado, including some moments near the end.
Sicario was refreshingly blunt in its nihilistic realism: it was a film about people moving through a broken world they knew they couldn’t set right but could at least gain some measure of control over. And while Sicario: Day of the Soldado has its moments, where it goes most wrong in its failure to live up to the example its predecessor set.
