The Boys Are Back
Takes pain and loss and gives it a slightly glossy treatment that holds the drama but doesn’t quite get to the point of complete emotional puppetry.
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Takes pain and loss and gives it a slightly glossy treatment that holds the drama but doesn’t quite get to the point of complete emotional puppetry.
Has many moments rooted in movie magic, but there’s also a whole lot of filler that brings the movie to a length that’s more than bearable.
Although it’s hampered by rushed pacing and some plot contrivances, Bad Ronald isn’t actually that bad.
Enjoyable, silly and a wee bit whimsical. It’s also treacherously predictable at times, the two leads lack chemistry and it has the token horrible Rob Schneider cameo.
Focused, fun and action-packed, Disney’s Bolt proves that it doesn’t need the Pixar banner to make an excellent CG animated film.
Blindness – despite its director, despite its pedigree as a respected piece of modern literature, despite its stellar cast – is a bitter disappointment.
Sellers uses simple looks and gestures to bring light to some very serious situations. At many points it’s like he’s in a trance, truly embodying Chance.
When it comes to cinematic fashion and romance, perhaps none are more iconic than Blake Edwards’ Breakfast at Tiffany’s.
Occasionally interesting, always beautiful and regularly tedious, the film attempts to capture a time and a feeling yet it ultimately fails to provide the depth needed to make it wholly successful.
With its sophisticated yet accessible blend of comedy and the macabre, I knew Beetlejuice was likely to be one of those films I would never tire of. But a classic? It’s been 20 years. I’m willing to throw that blue ribbon on it.