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However crass Disney’s motivation may have been in rereleasing the film, it’s cheering to see that even in this era of awesome home-entertainment setups and increasingly unpleasant multiplexes, people still want to see great movies on a big screen with big sound…
What’s your “number”? Who the fuck cares what anyone’s “number” is? How the hell is it anybody’s business but your own what your “number” is? In what universe is this even a question?
Why does no one ever intone at me and tell me to go to Budapest and wear polyester and smoke cigarettes and get all espionagey, dammit?
grunt grunt grunt *glower* [insert mockney swearing] bash crash punch kick [insert closeup of unshaven stubble]
I’m so excited cuz it’s like Taylor Lautner made a movie just for Team Jacob! Except he’s not a werewolf or anything silly or fantasy like that — he’s a real teenager with real problems. Like being the secret child of top international spies.
Remember Drive Angry? (I hope you don’t.) This is not that movie. This is Drive Calm. This is Drive Cool.
It’s pretty fucking clear how Sarah Jessica Parker’s Kate Reddy does it. How she manages to juggle a high-powered career, two demanding moppets, and a marriage: She’s got a buttload of dough.
It’s entirely possible that nothing that happens after the first twenty minutes or so is taking place anywhere outside the protagonist’s head. But that’s not a really satisfying out for what is an equally intriguing and frustrating cinematic experience…
Let me get this straight: we’re supposed to cheer on a spoiled, overprivileged private-school brat when he gets coddled and overindulged yet again?
There’s tons of delicious suspense of the horror-flick variety to be had in writer-director André Øvredal’s mockumentary, and plenty of Spielbergian shock-awe, but what makes it one of the most satisfying examples of found-footage flicks yet is its observational, journalistic ethos.
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