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‘Incredibles’ is back after 14 years, and it hasn’t missed a step

Charmaine Blake

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Elastigirl is the badass star of Incredibles 2.

Image: Disney / Pixar

“In the 14 years since The Incredibles came out, superhero movies have exploded. Circa 2004, we got maybe two a year; in 2018, Incredibles 2 is the third such film within the past two months.

In that context, it’s easy to imagine Incredibles 2 getting swallowed up by the wave, buried under the meta jokes of Deadpool and the ambitious world-building of Marvel. Instead, however, Incredibles 2 rises above it. Here’s how.

The action is, well, incredible

Incredibles 2 opens with a city-destroying battle of good versus evil that’s become a staple of the genre. But Pixar pulls it off with such style and finesse that it retroactively makes the competition look sloppy.

The choreography is sharp and dynamic, playing with each character’s specific strengths and weaknesses. Elastigirl’s bendiness contrasts and complements Mr. Incredible’s brute force, while Dash’s super-speed combines nicely with Violet’s force fields.

Other superhero movies could stand to learn from Incredibles 2.

Image: Disney / Pixar

Meanwhile, the camerawork and dialogue keep our focus on the characters, not just the spectacle. It serves as quick reintroduction to the leads, their personalities, and their relationships, in case your memory’s grown fuzzy after a decade and a half, and underlines why this particular fight is important to them.

It’s like the best of the Avenger-on-Avenger bits from Captain America: Civil War or Avengers: Infinity War – only better, because….”

Read more: https://mashable.com/2018/06/11/incredibles-2-movie-review/

New Movie Reviews

Apostle review exhilarating Netflix horror is a wild, gory surprise

Charmaine Blake

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Gareth Evans, director of The Raid, shocks and confounds with an ultra-violent tale of a mad prophet that transforms into something entirely unexpected

“Apostle, director Gareth Evans first feature-length effort since his pair of The Raid action films achieved instant underground infamy, is that rarest of treats: a horror movie that starts out as one thing, and finishes having mutated into another.

Exhilarating to watch and tricky to write about, similar to such films as The Box and the more recent Annihilation, going beyond surprising its audience with mere twists, instead shaking its own constructed reality off its axis. A full shift occurs not just in tone, with suspense boiling over into scalding insanity, but in the narrative mode, as the established set of unspoken rules governing the universe get violently upended. As soon as the viewer believes theyve got a grip on what sort of horror story theyre in for, Evans demonstrates that in the chaotic universe contained within his camera, anything can happen. And just about everything does; Evanss maximalist more-is-more ethic piles on one Grand Guignol spectacle after another, building to an operatic, hallucinatory climax that leaves our puny reason behind for a metaphysical nirvana. Polarizing yet undeniably fascinating, the bait-and-switch horror film lures its viewer into a false sense of terrified security before pouncing in an anything-goes frenzy, and Evanss latest is a prime specimen.

For the first hour, hed like you to believe youve wandered into a particularly reverent Wicker Man homage, and he makes the legwork of setting…………………………..”

Read more: https://www.theguardian.com/film/2018/oct/10/apostle-review-gareth-evans-exhilarating-netflix-horror-is-a-wild-gory-surprise

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Overlord Movie Review

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Overlord makes no bones about what it is – this is an A-list budgeted movie with a B-movie heart. It knows exactly what it wants to do, and takes itself seriously (even when the movie commits to how goofy it can get). One wink or nudge to its audience, and the balloon gets popped, and to its credit, Overlord never once does that, which makes it much more fun and exciting. The movie throws us straight into it from the opening titles, reminiscent of all those great war films of old, and sprints to the finish line for most of its running time.  Overlord also embraces every war movie cliche like a mom to her kids at Thanksgiving, but we don’t mind.  The characters, with few exceptions, are straight out of the playbook for these kinds of things, but the actors are having such a good time that it becomes infectious.

Why does Overlord work as well as it does? For one thing, director Julius Avery shoots this thing like he’s being chased.  The opening action sequence riffs off of every recent war movie from the past twenty years, but Avery keeps it exciting and intense………………..”

Read more at:  http://www.comingsoon.net/movies/features/985975-fantastic-fest-2018-overlord-review#F7U5wpd3gTUti0K8.99

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Ryan Gosling’s ‘First Man’ is an Awe-inspiring Space Spectacle

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Ryan Gosling, Corey Stoll, and Lukas Haas in Damien Chazelle’s First Man.

Image: Warner Bros.

“First Man is a big film about the small things that went into an enormous event.

It’s no spoiler that the climax here is Neil Armstrong’s 1969 walk on the moon. For the first 90 minutes, though, First Man holds back on the inherent drama of that premise.

It follows Neil (Ryan Gosling) as he makes his way through the NASA ranks, and at home as he mourns the death of his young daughter. It spends time on a bunch of promising missions that go nowhere, and on complex questions the engineers will have to solve. There’s some action sprinkled in there, and a few precious moments of euphoria. Mostly, it’s sweating the small stuff.

That choice is puzzling at first, even frustrating: We know the guy gets to the moon, so let’s get on with it already! Why are we wasting time with all this minutiae?

But those tedious concerns and disappointing dead ends are exactly the point. First Man is about work, and more specifically about the enormous amount of work (and luck) that goes into an achievement as momentous as the moon landing. It demands patience, but it gave back what I put into it several times over.

A rocket takes off in First Man.

Image: Warner Bros.

Director Damien Chazelle keeps his eye on the unromantic details that usually get glossed over in retellings of historical events. Literally: Much of this movie is composed of shots of dials, switches, and the top half of Gosling’s face……………………..”

Read more: https://mashable.com/article/first-man-movie-review/

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