Lost Holiday illustrates our inescapable desire for the days when irresponsible behavior was met with laughter and a slap on the wrist, but what happens when that responsibility is willfully ignored.
Then Came You doesn’t break new ground, but Asa Butterfield and Maisie Williams have the film bursting with such a youthful energy that it’s hard to not at least enjoy the show.
Despite its eclectic performances, The Vanishing is a snail-paced buildup to real action and suspense that doesn’t have enough substance to give the narrative some weight.
Crystal Swan is about the murky foundation that the American Dream is built on, but the persistence it instills on those who are willing to fight for it.
Proving the undead ain’t quite dead just yet, One Cut of the Dead remind us that even though some ideas might sound generic or overworked, it’s ultimately up to the execution
The Standoff at Sparrow Creek is a shadowy, overly serious affair, and every element of its narrative and craft reflects the film’s white-knuckle grip.
On the Basis of Sex is not likely to plant the seed of determination in the next RBG, as they don’t need pop feminist representations of even the most laudable of figures.
Patrick takes a currently successful formula and twists it into an unbearably cutesy mess, created for shallow monetary gain from an indifferent public.
Glass may have been a film nineteen years in the making, but it feels superfluous and incredibly out of touch in a world littered with superhero films.