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Banal, lazy filmmaking that cannot even be bothered to be cheerfully cheap and cheesy. Jennifer Lawrence is trapped in something that is constitutionally unable to allow her to be the strong, competent young woman she arrived as.
Dismal, yet profound and pungent, ParaNorman makes its points in ways more sharp and brutal than other “children’s” films. This is a story about ostracism and bigotry taken to extremes, and about our own unspoken prejudices and assumptions.
Dazzlingly graceful as a narrative and brutally frank emotionally, while still also working as a piece of popcorn entertainment.
Breezy, witty, gently naughty. Hello, steampunk orgasm!
Why does Dakota Fanning get to really live onscreen here in a way that Teh Movies don’t usually allow girls to do? Because she’s dying.
There is no pretense that we’re getting a realistic depiction of late-19th-century Russia. Director Joe Wright isn’t merely crafting a metaphor about the social structures under which we all live: he’s underscoring the artificiality of cinema itself.
Ends up an ever less slightly ungenerous look at the .01 percent than it might have been absent the 2008 financial crash, because even the uberwealthy get stressed when money gets tight. But this is still a brutal film from many angles.
I dunno much about Judge Dredd. I know he springs from a comic book series, I know he’s Judge Judy and executioner, and I know he never takes his helmet off. Forget the roughshodding of civil rights: it’s that last one that’s a major bummer.
This is a like comedy from Star Trek’s vicious Mirror Universe, where backstabbing and scheming are just the way things are.
Even the marvelous performances by Clive Owen and Andrea Riseborough are not enough to ratchet up the drama to the level of the totally gripping, which is a damn shame and something of a puzzler…
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