Regression movie review: no thanks for the memories
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.
Alejandro Amenabar
Agora (review)
How can it be that this powerful, exciting, provocative movie has been all but overlooked this year? Once upon a not-so-long-ago time, a film this epic, this relevant, this emotional would have been celebrated by the industry and by audiences as a great entertainment that was also great, important storytelling with something vital to say about the state of our world today.
The Others (review)
The creepy joy of this film is in the capacity it has for astounding even the most jaded movie lover (like me), the one who’s seen it all and can’t even imagine not being able to figure out where yet another ghost story is going. This is classy gothic horror, old-fashioned in the best way: there are no CGI specters, just mysterious footsteps and distant cries and movement in the shadows and hushed whispers and slamming doors.
