Despite a talented cast, writer/director Brian DeCubellis’ weak script falters Manhattan Night from becoming the dark and twisted noir it is so desperately wants to be.
In Order of Disappearance is a mainstream action/comedy for the arthouse crowd. It’s brave enough to treat its subject matter seriously and in jest, and the performances are of higher versatility than a cast of attractive household names who signed up for a glamour project.
I had a career epiphany last year after watching Harold Crooks’ financial doc The Price We Pay: maybe there’s nothing wrong with certain types of movies, maybe I’m just not fit for them. As a critic, you try and watch a bit of everything, but if something doesn’t interest you, don’t try and fake it – respect the filmmaker and the audience they’re playing to and admit it’s not your cup of tea.
This past weekend, Kubo and the Two Strings failed to make an impressive debut despite positive reviews across the board (including from our own Trevor Jeffery). According to Box Office Mojo, the $60-million production opened with $12,610,000 along with an existing foreign gross of $900,000.
The biggest takeaway from Barbara Kopple’s electrifying doc Miss Sharon Jones! is Jones’ incredible energy and willpower. It’s marvellous to watch the soulful musician allow music to possess her, and it’s even more astonishing considering Jones’ exhaustive struggle with pancreatic cancer.
Top-notch performances from a talented cast form the back bone of director David Mackenzie’s contemporary take on the western heist genre, but Hell or High Water is more than a well-executed thriller. It is a carefully crafted film that isn’t afraid to cast a bold light on modern issues.
Standing Tall is unlikable, but I don’t think Emmanuelle Bercot made this film to be easily embraced. Unfortunately, it’s terribly unappealing.
Possible alternate title: Kubo the One-Eyed Rock & Roll Samurai Wizard.
Sausage Party is a shock comedy that’s heavy on “shock” and light on “comedy”. The film is supposed to subvert clean-cut animated films with inappropriate dialogue and black humour, but ends up becoming a crass and awkward in-joke between the comic cast.
Despite its “battle-of-the-sexes” controversy, it was surprisingly easy to stay out of discussions pertaining to Paul Feig’s reinvented Ghostbusters. I had no interest in the film’s politics. It wasn’t because I had strong opinions – I was just indifferent.