Spider-Man needed this break, and we did too. For better and truer people, that anticipation time is filled with reflection and appreciation, fitting this lesson’s adage of devotion. Arriving with the passage of time firmly welded to its ripened core, Spider-Man: Brand New Day rewards those hearts who arrive eager and encouraged.
Read MoreThough packaged with plenty of crassness and off-color humor, we’re here for the sideline sweetness and the infectious nature of the approachable sport. If pickleball seems preposterous for those unsure or unaware, like it’s nothing more than ping pong with feet, imagine it packaged as a formulaic sports movie. Like the sport itself, The Dink is a light bounce and an easy good time without anyone over-exerting themselves.
Read MoreWhether it is the unending expanse of sky, the unseen abyss of the ocean churning below it, or the bottomless moral pits of its key characters, there are layers upon layers of depth farther than any sight or measurement in Christopher Nolan’s grand and grievous take on The Odyssey. Leave it to one of this generation’s best filmmakers to accept the challenge with spectacular precision and the fearless temerity to make it his own.
Read MoreThe sleepaway setting has long been a comedy and horror staple, from Meatballs, Friday the 13th, and The Parent Trap to Heavyweights and full-on satires like Wet Hot American Summer, and the delightful and crass new comedy The Floaters follows that in the same vein. It doesn’t matter the specialty or type of camp, assembling a hodgepodge group of characters is a foolproof and fast way of multiplying the classic coming-of-age arc we know and love.
Read MoreMost scientists in the SETI (search for extraterrestrial intelligence) or METI (messaging to extraterrestrial intelligence) fields bank on theories that any real evidence we, as a planet, will get will come from signals more than flying saucers and little green men arriving on Earth. Similar to Contact, Clara, and Ad Astra that came before it, The Outer Threat follows that more plausible and intelligent path and still develops solid suspense.
Read MoreCompare your kinks and compare your calamity to theirs as the cross-examinations skirt the existential as well as the suggestive. This all feels like a brisk game and a bold test, and there is unmistakable brilliance to take away from such an experience, and witnessing the savvy theatrical chops, led by Olivia Wilde, it took to pull this kind of vampy subterfuge.
Read MoreLucky Strike makes two cardinal mistakes in its first two scenes, which, in turn, dilute the rest of the movie. It’s a shame, too, because The Last Castle and The Contender director Rod Lurie, filming in the thick woods of Bulgaria, utilized striking wintery location shooting to put his actors through their paces and make us feel every cold snap of this movie’s little piece of the famed Battle of the Bulge during December of 1944.
Read MoreMilly 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.
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