A Hidden Life is an interior struggle that we, as the audience, can witness and understand, but may not completely and 100% grasp.
Underwater doesn’t really start as much as it slams itself unto its audience with the subtlety of a bowling ball to the face.
All in all Bad Boys for Life is a film that exists and I’m still not sure if it’s a good thing. It will please fans, and nothing else.
The Report spends almost two hours exposing the unjustness of the American democracy with the same surgical eye of a WSJ investigator.
The serious racing film subgenre is overlooked to an almost criminal degree, and I’m not even a car person.
It tries to make important moral points about responsibility, but neither of them are important enough to have weight, nor do they connect with any of the metaphors presented – of which, I believe, there are none.
There is nothing new to explore on the concept of Zombieland, so the film treats this instalment like we’re catching up on an episode of our favourite show.
Set in a sort of idealised Ye Olde Europe, Judy & Punch re-imagines the original characters as the artists behind the original puppet show.
And for her sophomore effort, Jennifer Kent went for the jugular.
This is Tarantino’s most romantic film. Not just a love letter to cinema, but an enduring look at our tradition to entertain ourselves.