According to box-office pundits, A Good Day to Die Hard will be the big box-office winner this holiday weekend. If the predictions hold true, this film confirms the conventional wisdom: People want what's familiar, no matter how hackneyed and repetitive.
Cheap, amateurish and sometimes just plain hard to watch, Beasts enjoyed a wave of overwrought critical hosannas, going all the way back to when the film first was shown more than a year ago at the Sundance Film Festival.
Shortland's film has an occasionally detached, whispery quality, as the camera focuses on the nature around Lore and her group. These Malick-like moments take us out of the story, for better or worse, depending on your point of view.
Dear Steven Soderbergh: Please don't stop making movies. Your name is high on the list of filmmakers whose careers I'm thankful have coincided with my career as a movie critic. And Side Effects is further proof that you are at the height of your powers as a filmmaker.
I lost count of the number of noggins that were perforated by hot lead in Bullet to the Head, but it was more than a dozen. Henchman apparently is a particularly dangerous job description, at least in this movie.
We are losing context. Every single day. And we don't seem to notice. Or care. We dispute it and disrespect it and otherwise dismiss it. Our love affair with all that is new, different and sensational leads us to fashion a society that has fewer and fewer ties to the past or memories of it.
You get the feeling that Ruben Fleischer would have been happy to make an homage to the gangster movies of the 1940s (filtered through both a 1970s and a 21st-century perspective) when he was making Gangster Squad.