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Cecilia knows that Adrian will always find her, and The Invisible Man is rife with the abject terror of such vulnerability. Whannell and cinematographer Stefan Duscio have a knack for letting their frames linger with space, drawing our attention to where we, and Cecilia, know an unseen danger lurks.

If this sounds like an exciting space yarn, know that director James Gray is in a much more meditative state here: The film is more about the mystery of the soul of man than it is about the mystery of the universe, or even about some big spaceship fights.

The universe is the backdrop to the story of a man and his thwarted issues with his father, and his inability to connect with anyone else in the world because of it.

Gray does provide some thrills on the journey of father to find son, and they are extremely well-crafted, particularly a battle with space pirates on the moon that takes place in a world without both gravity and sound.

The promise of John Wick: Chapter 2 is in superposition. Depending on how one comes into John Wick: Chapter 3 — Parabellum , from which angle, that promise is simultaneously fulfilled and squandered.

Whether John Wick is a videogame or something more existential. None of this matters. As videogames and action movies parabolically draw closer and closer to one another, John Wick 3 may be the first of its kind to figure out how to keep that comparison from being a point of shame.

Accordingly, each action set piece is an astounding feat, from the first hand-to-hand fracas in narrow library stacks, to a comic knife fight amidst cases of antique weapons, to a chase on horseback and, later, a chase on motorcycles care of katana-wielding meanies.

John Wick 3 revels in its ludicrous gore without losing sight of the very real toll of such unmitigated havoc. Every gun shot, body blow, shattering jaw and gut slicing rings out sonorously from the screen, so that even if yet another faceless henchperson loses their life, leaving this mortal plane unnoticed, at least the act of violence that ended them will be remembered.

Elliott and eccentrically mannered there we go! Suspects are interrogated. Secrets are revealed. This flips the entire experience for the viewer, as they go from trying to figure out what happened to wondering if the truth will be discovered.

Much as he did with Dashiell Hammett-style noir in his debut, Brick , Johnson shows both a reverence for and a willingness to tinker with the tropes and formula underpinning his story.

Where does one begin? When it comes to Avengers: Endgame , that question is not so much an expression of wanton enthusiasm as a practical challenge in evaluating the destination toward which Kevin Feige and company have been steering story and viewer alike for the past 11 years and 21 films.

Moviegoers have been living with these actors, as these characters, for over a decade. For many, this version of these characters is the only one they know.

This is why the sudden ashification of so many heroes at the end of Infinity War hit even the most cynical comic book veterans right in the feels and left less hardened viewers confused and distraught.

This connection makes the quiet moments as valuable to the viewer as the spectacle, and for all the fireworks in the third act, Avengers: Endgame is very much a film of quiet moments and small yet potent emotional payoffs.

Now, thanks to 21 movies in 11 years and one massive, satisfying three-hour finale, moviegoers do, too. Instead, Scafaria Seeking a Friend for the End of the Universe has crafted a story of survival and friendship that more accurately compares to classics like The Apartment.

At the center of the story resides Destiny Constance Wu. For her, being an exotic dancer pays better than anything she could get with her GED-level education.

Enter Ramona Jennifer Lopez. Accordingly, Lopez and Wu are dynamic together. The gaggle of women who join their crew feed into that energy, culminating in a wonderful ensemble.

Rich in character portrayal and energy, the crew is wonderful to watch—even as they systematically destroy lives. Year: Director: Jesse V.

The second of three films directed by Jesse V. Johnson released in , Avengement is as crystalline, as empirically precise, as micro-budget VOD martial arts action can aspire.

As is the case with Savage Dog and The Debt Collector both on Netflix , Avengement thrives on the preternatural chemistry between director and star, the camera remarkably calm as it captures every amazing inch of Adkins in motion, beating the living shit out of each chump he encounters, Adkins just as aware of how best to stand and pose and flex to showcase his body.

A film set during World War I! Nonetheless, is one of the most technically challenging and visually satisfying movies of the year.

In this case, the approach meshes perfectly with the setting and story, pulling the viewer into the tension of trench warfare and the overall horror of a prolonged stay in a place where the enemy is always trying to kill you, while also achieving a certain character-centric intensity that may feel familiar to anyone who has logged many hours in videogames.

As a result, if you give an inch of attention, it will drag you along for miles. Accordingly, production and costume designs borrow from multiple time periods—slightly resembling medieval Europe—while characters speak in Shakespearean prose, their body language still distinctly modern.

Instead of the usual sea of white faces for such a tale, different races that seem to have equal social standing populate this world.

No one gives anything away. Instead, Meyers carefully pulls the truth from the set-up, and in the process hints at not a small amount of relish on his part.

Half an hour in, We Summon the Darkness still is that story, but told from the perspective of religious vultures who happily exploit the fears of the flock to profit the church.

Tipping the hand too much would be easy; the tells only become clear after the fact, couched in a choice of words here, a moment of hesitation there, a dose of forced enthusiasm there.

Wilde and company draw from a whimsical, rainbow palate to explore friendship at diverging roads. Feldstein and Dever shine as an odd couple. Molly wants to be the youngest person ever elected to the Supreme Court, while Amy seeks to discover what possibilities life may open up for her.

As the night progresses, those masks begin to slip, and the person each of these students is striving to become begins to emerge. The pendulum of teen girl movies swings typically from Clueless —girl-powered, cutesy, high-fashion first-love-centered—to Thirteen , the wild, angry, depressed and running from all genuine emotion kind of movie.

Most of these films lay in the space of heteronormative, white, upper or middle class, and able-bodied representation. Even in films centered on otherness, like Bend It Like Beckham , the white best friend is given equal space in the advertising of the film, and the original queer angle was written out in favor of a love triangle.

Visit nearly any segment of the internet visited by Millennial, Gen X, and Gen Z women, and the cry for better representation is loud and clear.

The PBS in the U. This time, the King and Queen of England are coming for a visit, which is a perfect capsule tale that allows fan-favorites upstairs and down to put on a show.

The same can be said of the film, which is never surprising and yet immensely satisfying. There are some incredibly funny sequences, a few genuinely heartwarming ones and so many plots it will nearly make your head spin.

Downton has always been an ideal, and the movie plays into that with joyous and wonderfully clever verbal exchanges plus some costuming to die for.

Though the series ended in a fully satisfying way, the movie provides yet another perfect finale—while leaving the door open for more stories.

Hughes Phyllis Logan as they stroll out the front of the manor into the evening, another mark of changing times.

We want to watch as much of it as we can. Long live Downton Abbey. Rocketman , a dazzlingly entertaining, heartbreaking, vulnerable, and delightfully exuberant biopic about the great Elton John Taron Egerton dares to ask a question so simple yet so smart: Why not do both?

So we get an intimately dissected and well-acted biopic as well as a spectacularly visualized and choreographed musical. After finding true inspiration thanks to his lyric-writing partner Bernie Taupin Jamie Bell , he enjoys the spoils of becoming an overnight smash.

This all sets up the third act, the long road to redemption. Most importantly, Taron Egerton embodies Elton with a captivating natural presence; his is a meticulously mannered performance in the best possible way, where even the tiniest facial tic becomes an irreplaceable detail that completes the big picture.

Along with having a Grade A capturing of a C-tier villain Mysterio , Spider-Man: Far from Home is relatively small, sincere and funny, and has more than your usual MCU allotment of post-credit bombshells.

Save for minor details like smartphones and Google image searches, Brett and Drew T. They build tension and avoid playing coy: Something sinister is in the woods, they let their viewers know upfront, and they have a blast dropping clues and hints for Ben to decipher while Liam loses himself in a relationship with his new girlfriend, Sara Azie Tesfai.

Regardless, take Weinstein out of your interpretation of The Assistant and the film will still throttle you slowly, packing suffocating pressure into each of its 87 minutes.

She spends the film unraveling over the course of a day, confronting her complicity in his sexual predation with no tangible hope of ending the cycle.

One of the best things about A Beautiful Day in the Neighborhood is how stubbornly it resists what you think it is going to be. The easy piety of the public perception of Mr.

Rogers, the idea that you can simply Be Kind and stick to that platitude and that will be enough, is one the movie roundly rejects.

In fact, Mr. Rogers is not the main character of A Beautiful Day in the Neighborhood. The protagonist is Lloyd Vogel Matthew Rhys, playing a fictionalized version of writer Tom Junod , a highly successful magazine journalist and new father who is cynical about the world and crippled with rage at his alcoholic father Chris Cooper for leaving his mother when she was dying of cancer.

You think the film is going to go in a familiar direction from then on, with the cynic journalist having his heart warmed by the human kindness that word again of this American hero.

And it does, a little. But the movie is more willing to get its hands dirty than that. It wants to put in the work.

The movie argues not that we should all be like Mr. Rogers, but that when tragedy hits us, and anger envelopes us, we must strive for grace wherever we can find it.

The movie is tougher, and more rigorous, and more interested in the hard work of healing than empty slogans.

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