This is one of the best, if not the best, film of Renny Harlin’s career… He checks every box an action fan could want —explosions, gunfire, rockets, helicopters, vehicular mayhem, Gatling guns, hand-to-hand combat and knives—but never allows the spectacle to become the whole movie.
Written and directed by Boll and starring Armie Hammer and Costas Mandylor, CITIZEN VIGILANTE is a brutal, bloody, provocative contemporary Western, trading horses and dusty frontier towns for the streets of Europe, social media, the dark web, and an international manhunt…Boll doesn’t pussyfoot around any of this. CITIZEN VIGILANTE is built around an uncomfortable dramatic question: what happens when the distance between law and perceived justice becomes so great that someone decides to fill that void himself?
What makes much of FLOATING CAROUSEL work is that Napier and Powers don’t strain for jokes. The humor generally comes from behavior… [But] Napier and Powers have created an ensemble filled with amusing characters and situations, but not every one of them requires the amount of attention afforded it.
THE DEPUTY is ostensibly a crime thriller, complete with dead bodies, missing evidence, corruption and an increasingly desperate man trying to determine whom he can trust, but works best when viewed as a character study wrapped inside the trappings of a genre film.
Enchanting, charming, funny, sweet, and filled with an infectious sense of joy…THE FISHERMAN makes that journey with an abundance of humor, humanity and visual beauty, but above all, it leaves you with joy.
ORION is a riveting, intelligent, meticulously crafted psychological sci-fi thriller constructed with more detail and less information that creates the visual, aural, and thematic language of the film.
Love makes fools of us all. And in director Claire Scanlon’s utterly charming THE LOVE HYPOTHESIS, that’s precisely where the fun begins.
For a trilogy built around perpetual motion, Jake Harris doesn’t need another heroic pose or explosive victory lap. Because to borrow a sentiment once carved into the headstone of another heroic world-saver: Jake Harris saved the world. A lot.
Every so often a film comes along that sounds utterly ridiculous on paper, shouldn’t work by any conventional calculation, and somehow wins you over precisely because it refuses to apologize for how strange it is. THE INCOMER is one of those films.
When Bressack finally releases the tightening spring of fear and tension, I HAVE PROOF becomes almost breathless.
Structured in three distinct sections, RESENTMENT continually shifts the dramatic balance among its central trio while remaining rooted almost entirely within Trish’s Brooklyn bar. Each chapter rearranges the emotional geometry, allowing alliances, suspicions and resentments to mutate as afternoon gives way to evening and ultimately last call.
Never underestimate a little girl and her stuffed bunny in a paranormal horror movie.
