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There aren’t enough words to type my appreciation for the other performances in the film, namely Ke Huy Quan who works alongside Yeoh with an astonishing breadth of the heart. The plot can be heady, and it can get in its own way at times with frustrating little nitpicks that gnaws at its more emotional truths.
Maverick is one of the best legacy sequels ever made. It surpasses the heights of its predecessor by miles. And I hope it captures the imagination of an entirely new brand of filmmakers who aim to believe in the magic of movies.
While I am critical of Glass Onion for its disappointing comeuppance (coming on the back of a satisfying reveal to then suddenly breach the confines of the film’s perceived reality with a swelling conclusion that feels unrealistic and unfortunately alleviates vital guilt from characters who are still culpable), it becomes impossible to diminish the emotional satisfaction at watching this satire acknowledge the pending rage and frustration that the audience has for a large margin of the characters at its center.
Emergency Declaration benefits from earnest performances, engaging characters – some well-developed, others deliberately broad – and plenty of suspenseful set-pieces, the highlight being a scene in which the out-of-control plane begins to roll, as seen from inside the cabin. And despite its length, the film is tons of high flying fun, seldom slowing down long enough for us to question its less plausible moments.
Beast benefits from a brisk pace, well-executed action and strong characters…even if a couple of ‘em are sometimes annoyingly stupid (hey, they’re teenagers). While it’s certainly no Jaws, this film is recommended for anyone who gets their kicks seeing nature strike back.
White Elephant never challenges the intellect, nor is it teaming with originality, but Michael Rooker makes the most of a rare leading role. He elevates the film a notch or two higher than the usual direct-to-video drivel.
Movie Burner Entertainment 