When Melanie Lynskey’s Ruth, a depressed nursing assistant, goes to the home of the thief who stole her laptop and grandmother’s silverware, the thief’s father offers to pay her off. When she refuses money he asks, “Well what do you want?” “Everyone to not be such an asshole,” she says earnestly. In I Don’t Feel at Home in This World Anymore Ruth is on a mission, not just to get her belongings back, but to try to understand why everyone around her perpetually sucks.
Movie Reviews - Page 5
One of the apostles (I think it was Peter) once said that casting John C. Reilly covers over a multitude of sins. The Little Hours is basically a one-joke sketch — medieval nuns swearing like sailors — stretched out to feature length, but whenever the film starts to run out of gas or repeat itself a little too much, there’s Reilly, its rock and redeemer, turning watery jokes into a potent brew.
The Visit was a fun, kooky and simple little horror flick that reminded audiences that M. Night Shyamalan still has the capacity to surprise and entertain us — but more than anything, it inspired optimism with the promise of more good things to come. Shyamalan has fully delivered on that promise with Split, an incredibly thoughtful and thought-provoking thriller. Although occasionally heavy-handed, Shyamalan’s latest is his most considerate and effective film in years, with a startling emotional core.
Joe Coughlin should have listened to his dad. Joe (Ben Affleck) was a gangster (although he preferred the term outlaw) and his father Thomas (Brendan Gleeson) was a cop in their hometown of Boston. Over dinner one night, Thomas warns Joe: “What you put out into the world always come back to you.” “But,” he adds, “not how you expect.”
Early in 20th Century Women, Elle Fanning’s rebellious teenager Julie asks, “Don’t you need a man to raise a man?” With little pause, Annette Bening’s single mother Dorothea assuredly responds, “No, I don’t think so.” The latest from Mike Mills (Thumbsucker, Beginners), finds three women helping raise a teenage boy. It’s a premise that could easily crash and burn in the wrong hands by sacrificing nuance for stereotypes or marginalizing female voices to emphasize a male perspective. Yet 20th Century Women avoids all of that. Instead Mills has made not only one of the best films of the year, but one that unabashedly celebrates the feminine spirit.
Martin Scorsese has reportedly been trying to make an English-language adaptation of Shūsaku Endō’s novel Silence for upwards of 25 years. Watching the finished movie, it’s easy to see why he fought so hard to make it — and why it took so long to get someone to finance and distribute it. Silence encapsulates many of Scorsese’s most deeply felt themes; ideas about faith, sin, and guilt he’s considered in film after film for decades. But it does so in a package that is slow, dry, and a little monotonous. Fans (there will certainly be some, and not without reason) will hail Silence as a passionate and perceptive career summation. Silence’s critics will likely agree — while wishing that summation wasn’t such a slog.
Imagine, you’ve given up your life on Earth, paid a ton of money to take a 120-year-long nap, and when you wake up you won’t have aged a day and will be starting over on a brand new planet. Now imagine something goes wrong and you accidentally wake up early. You’re stuck on a ship that can’t return to Earth and won’t reach its destination before you die. What do you do?
The assassins of Assassin’s Creed have an assassin's creed that they recite repeatedly in Assassin’s Creed. (If that mere fact alone makes you smile, you’re in for a treat.) This creed involves the phrases like “nothing is true” and “everything is permitted” (the assassins are the good guys in this movie, by the way) and concludes with the declaration "We operate in the darkness to preserve the light."
You’ve seen Rogue One. You’ve read our spoiler-free review. Now you’re ready to go deeper. Like the Rebels in the film, you want to smuggle the deepest, darkest secrets out of enemy territory and pass them along to those who need them most. As luck would have it, we’ve got a Rogue One spoiler discussion ready to provide exactly that.
This review contains basic plot details for Collateral Beauty which for some reason were not included in the movie’s trailer. If you don’t want to know the movie’s basic premise, don’t read this article. I would also recommend not seeing the movie, but that’s up to you.