Breathlessly paced, Infinite features plenty of chases, fighting, gunplay and destruction, all presented with slick professionalism. But we’ve seen it all before, and because it spoon-feeds the entire premise almost immediately, there aren’t any real narrative surprises. That might make it a passable time-killer on Paramount+ (where Infinite first premiered), but I can’t imagine anyone ever being compelled to visit this forgettable film a second time.
If Murder was better than expected, then Death on the Nile more-or-less delivers as expected, which is all anyone can really ask from a sequel. It’s another affectionately assembled throwback to mysteries of yesteryear, with slick production design and a solid cast, all in support of a classic story that would be difficult to screw up.
Maybe a little too laid-back at times – with a plot that’s ultimately superfluous – Last Looks is still very enjoyable. Gould and Director Tim Kirkby have created a charming homage to film noir and infused it with a offbeat sense of humor. Though not always laugh-out-loud funny, it’s consistently witty and features characters who might be worth revisiting from time to time.
Though there are a few lapses in credibility and logic, The Boy Behind the Door compensates with convincing performances (especially Kristin Bauer van Straten) and smart, economical direction. Writer-directors David Charbonier and Justin Powell’s minimalist approach to dialogue and exposition not-only respects the audience’s intelligence, it exacerbates the tension.
When it comes to (very) belated sequels, familiarity is always the safest path. While that approach does render much of Coming 2 America somewhat redundant, one could look at it like being told a good joke you’ve heard before…not as fresh or funny the second time around, but it can still put a smile on your face.
Superhost is frequently amusing, with bits of suspense here & there and a wonderfully gruesome death scene involving a knife to the face. Legendary scream queen Barbara Crampton is even on-hand for what amounts to a glorified cameo. But in addition to Gillum’s caffeinated performance, the film works best when having fun at the expense of the “Look at me!” culture. Those people have it coming.