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No Way Home introduces an unlikely sort of plot, the kind of magical, accidentally multiverse-opening jargon one could expect from a film this ambitious. But if there is one thing we have learned in years of watching films like this, it is that the plot works best as a backdrop, a set piece for which to detail poignant character discoveries and intimate details of interpersonal communication with inherently high stakes, and on this front No Way Home inarguably succeeds.
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.
Bizarre even by the director’s notorious standards, Siberia is nevertheless well made and visually impressive. With the harsh, cold landscapes underscoring Clint’s isolation, it might even be Ferrara’s best looking film. Whether or not there’s any actual meaning to it all (or entertainment value, for that matter) depends entirely on the viewer. Proceed at your own risk.
The Lighthouse is likely to spark plenty of love-it-or-loathe-it debates, which automatically renders it a unique film worth checking out by adventurous horror fans.
The idea was interesting and you had three very good actors there’s no reason why this was such a mess.
The film opens in the historic city of Jerusalem with the eminent detective Hercule Poirot already immersing himself in a case. A theft has been committed with multiple figures, including a Rabbi, in the frame.
Movie Burner Entertainment 