
Triple 9 movie review: ordinary criminals
How did a genre-smashing director make a heist thriller so generic, with characters too unlikable to be engaging but not twisted enough to be intriguing?

How did a genre-smashing director make a heist thriller so generic, with characters too unlikable to be engaging but not twisted enough to be intriguing?

Eerie and sinister, operating on a more psychologically incisive level than the typical horror flick… until it tosses it all with a cop-out of an ending.

Hollywood does not know how to make a movie about women that isn’t about the pursuit of romance. Even when women say they don’t want romance, they’re lying.

A tad dated and scattershot, but the messy package is inventively absurd… and unlike many Hollywood comedies, able to carry that absurdity to a silly end.

Sweet, silly, charming. A true story about an unlikely canine-assisted project to protect endangered birds, goofily fictionalized to engage kids.

Exhaustion of mind and body is the primary sentiment in this sensitively observed family drama, drawn with an intimacy that is palpable and uncompromising.

Callous, crass, unpleasantly smug. Supposes it’s being edgy because its protagonist swears a lot, but it’s like a child saying bad words just to be naughty.

Exists on the spectrum between “fascinating and unclassifiably odd” and “could almost be a parody of an arthouse film except it’s too moving to be a joke.”

A portrait of grief that borrows the conventions of romantic comedies. There may not be a lot of passion here, but there is plenty of pleasant zing.

Amenábar aims for a noirish X-Files vibe, but preposterousness rules this inert trudge that does absolutely no justice to a terrible real-life phenomenon.