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It’s no rare thing that a film gets buzz for its director. It’s a rare thing when that director has never made a film before. It’s an even rarer thing when the film by that first-timer turns out to be as astonishingly confident and shrewd as actor-turned-director Ben Affleck’s *Gone Baby Gone.*
You sell out and you sell out and you sell out until you can’t do it anymore. And that’s when things gets interesting.
Movies about gangsters: You expect a lot of noise. Shouting and screaming. Barrages of gunfire. Not here. Here we have somber reflection, the lurking gray peril of an urban underbelly, shifting shifty glances and unspoken threats. ‘Eastern Promises’ is almost silent — even its title sounds like a shush.
Holy shit, but this may be the best straight-up horror movie of the year — I was riveted by the sinister sophistication of it.
There’s so much despair and anger and grief layered just into the background of Alfonso Cuarón’s film that I can’t shake its gray grimness — I’ve been haunted by this film for weeks now…
The Prestige is a fan-fuckin’-tastic popcorn flick that’s as smart as it is shifty, like some lost Alan Moore graphic novel come to life, like something Jules Verne would have written if he were Neil Gaiman.
This is the smartest kind of spectacular that an international remake can be: it picks up the clever threads of story from its source material and weaves them into another world in such a way that it’s hard to see how they didn’t spring from that world in the first place.
It may sound bizarre to say that a film about women under threat of vicious, violent death is a triumph of feminism, but there we are…
Two thrillers you wish weren’t quite so thrilling, with their terrifying basis in reality…
It’s ‘Comparative Mythology for Dummies’ done up Hollywood style, except there’s no smooching.
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