Christopher Nolan’s war movie is predictably epic, but thankfully eschews the glorification and patriotism that often makes this genre so uncomfortable. Of course, the alternative is equally as difficult to watch – just in a completely different way.
Steven Soderbergh’s long-awaited return from retirement falls just short of successful comedy. You’re more likely to nod and say ‘ha!’ than to laugh out loud – but Logan Lucky’s entertaining cast, characters and screwball plot are definitely enough of a distraction from its deflated jokes.
Baby Driver is the kind of action movie I’ve been missing. The genre usually seems so tired and repetitive, and this is something new. While the ‘get the girl and get out’ theme is nothing original, the musical backdrop and the tireless commitment to rhythm definitely are.
I’ve never seen the originals, and I don’t know much about them – but I’m assuming that they had to be a damn sight better than this in order to warrant a remake in the first place. The first Mummy must be turning in his grave, more so than he already was.
I haven’t even reviewed REC or Quarantine yet, and here I am writing about its much lesser-known sequel, Quarantine 2. Why? Because it’s much lesser-known, I suppose – and even bad sequels deserve a bit of love sometimes, if they have a half-decent idea behind them.
As handycam horror movies go, The Bay is a pretty good one. It’s just unfortunate that it’s a totally oversaturated genre; if every movie used the concept this cleverly, maybe ‘found footage’ wouldn’t be a byword for ‘bad horror’.
As buzz about Netflix’s Making of a Murderer series keeps growing and theories about its subjects’ innocence or guilt swirl around, I’m pulled back once again to the documentary that complicated my entire outlook on guilt and justice.
This is one of those movies that everyone should see.