Review – The Interval
It is evident that the film was made on a shoestring budget… but it shouldn’t feel like it so much.
It is evident that the film was made on a shoestring budget… but it shouldn’t feel like it so much.
It’s all heavily reminiscent of Meet the Parents: at its best we get a few laughs; at its worst we’re already asleep.
Gravity is clockwork cinema: it is elegant and functional to the smallest detail, but taken whole, it is no less of a work of art.
Car racing is relegated to the background in Rush, and is no more integral to the story-telling than the soundtrack.
Oliver Hirschbiegel ends up telling the same story as the tabloids, that of princess coming apart, rather than hinting at a Diana who just might have been more than her ends.
Stories We Tell will be suck you in, it will command your attention, and whether or not you decide that you liked it, you will almost definitely appreciate it.
Once again Riddick is a lone wolf who must forge an uneasy alliance with some mercenaries and bounty hunters in order to survive. The result of this simple formula is fun science fiction with decent action sequences, nice CGI and the type of gory violence that receives cheers from the audience.
It’s just so nauseatingly, frustratingly dull. It’s the cinematic equivalent of missionary sex with the lights off under the covers. With a soft moan as the safety word.
The drama is painted in thick lines, and the characters have relatively limited motivations, but the plot keeps things moving along quickly enough to keep you involved.
Despite the character and narrative problems, the comedy makes for pretty good fare.
Ashton Kutcher successfully carries the film with his lead performance, reproducing the idiosyncratic walk and speech affectations of the real Steve Jobs, but with Whiteley’s script he’s prone to repeating almost every conceivable Jobs quote.
City of Bones follows young Clary Fray as she attempts to find her abducted mother while learning the forgotten secrets of her past, coming face to face with demons, vampires and werewolves, and getting embroiled in a love affair or two. If all that sounds like a real thrill ride, you’ll be severely disappointed.
It’s all contrived gory nonsense. The plot twists are uninspired, none of it makes much sense, and this B-grade comedy is never more than one step away from being so-bad-it’s-terrible.
This is a worthy sequel to the original, which wisely focuses on character development rather than just upping the scales of spectacle… It was a given that [Chloe Grace Moretz] would feature more in the sequel. Her burgeoning sexuality, paired with grief for her late father, gives her depth and vulnerability unseen previously, and it’s played with aplomb by the talented star.
Stoker has a English manor, murder-mystery feel to it. High fashion, stately furniture and classic autos dominate the screen and reinforce the repressed, privileged and secretive nature of the Stoker family.