Like most of Wes Anderson’s previous films, The French Dispatch is deliberately paced without ever becoming boring, quirky without ever being inaccessible and artistic without ever growing pretentious. It’s a cinematic treat enhanced by creative production design and a wonderful score by Alexandre Desplat. Fans of the director will be familiar with all his moves, but that doesn’t make them any less enjoyable.
Clint Eastwood’s glory days as both an actor and director are likely behind him, but he seems comfortable with that. While Cry Macho offers no real narrative surprises, watching him more-or-less play an extension of his own aging persona is fairly enjoyable. The pace and tone may be off-putting to some, but for those who’ve watched Clint evolve from iconic anti-hero to Hollywood’s elder statesman, it’s somewhat reassuring that he can still carry a film…even when being occasionally upstaged by a chicken.
Malignant is no masterpiece, nor is it particularly scary (despite an abundance of familiar jump scares). However, the film is entertaining, uninhibited and culminates in a bonkers final act that – whether one finds it thrilling or ridiculous – is certainly memorable.
while the narrative isn’t always compelling, the special effects, production design and homages to classic film noir hold our attention. Perhaps that’s not enough to warrant repeated viewings, but it’s certainly worth checking-out at least once. Reminiscence kind of came-and-went with little attention when first released, but here’s hoping it’ll be remembered come Oscar time, since its technical aspects deserve a few nods.
Gunn is unbound by the restrictions of a PG-13 rating, something else the material really needed. Hence, the film is vivid, violent and vulgar, yet at the same time, seldom feels pandering or gratuitous. Punctuated by gobs of gags and hilarious dialogue, the movie earns its dismemberments and f-bombs along the way. In fact, the whole thing plays very much like Guardians of the Galaxy without a filter.
HBO managed to depict this chapter of the Chernobyl saga in a fraction of the time and never relied on manufactured melodrama to pad things out. Chernobyl 1986 tells a watered-down version of the same story, adding nothing new or revelatory – not even interesting characters – which makes its existence is sort-of superfluous. And why settle for a simple vanilla cone when a scrumptious sundae is available?