Peter Berg’s Deepwater Horizon easily entertains, with the likeable presence of Mark Wahlberg, some lean and mean plotting, and of course, that big fiery wreck at the center of it all. Yet, there’s a nagging feeling that the disaster film, based on a true story, could have been a movie with more to say.
Browsing: Wil Loper
12 years after Bridget Jones approached The Edge of Reason, Bridget Jones’s Baby delivers what fans of the franchise enjoy about the films, whilst refreshingly eschewing many of the clichés that plague other romantic comedies.
Kubo and the Two Strings raises the bar for Laika movies, bursting at the seams with gorgeous animation, terrific writing, and wonderful weirdness. Most importantly, Kubo packs several emotional punches that make this latest outing one of Laika’s most heartfelt yet.
It’s hard to believe that a raunchy, R-rated animated film about talking sausages and food from the mind of Seth Rogen could make insightful observations about religion, the Palestinian-Israeli conflict, and mob mentality – and yet Sausage Party does just that.
David Yates’s The Legend of Tarzan is by-the-numbers in every way. Watching shaky cam footage of safaris on Youtube will bring more excitement to viewers than this iteration of the Lord of the Apes.
Independence Day: Resurgence delivers dumb, big-budget alien invading action, and not much else with the void left by Will Smith hanging over the film.
Pixar is back with a sequel to one of its earliest and most beloved films, Finding Nemo. And though this sequel doesn’t surpass the original, there’s still an ocean’s worth of magic to be found in its imaginative characters, gorgeous animation, and emotionally driven story.
As far as tearjerkers go, Me Before You manages to keep itself from sinking too far into melodrama or feeling blatantly emotionally manipulative, approaching the line of corniness without ever actually crossing it.
When a movie’s source material is a game downloaded on smartphones, the sole purpose of which is to serve as a brief distraction, one can assume a 90-minute adaptation that attempts to stay faithful to its ‘story’ won’t translate very well.
The scariest part of The Darkness isn’t anything that occurs onscreen. Rather, it’s a slow, creeping feeling as the minutes drag on that this movie simply will never end.
Garry Marshall is one step closer to completing his plan to dominate the cinematic world of holiday movies. Mother’s Day is the director’s latest calendar-centric rom-com, and if you’ve seen either of the first two films, there’s little that will come as a surprise this time around.
It’s truly remarkable to see a movie filled with the talents of Jessica Chastain, Emily Blunt, Charlize Theron, and Chris Hemsworth that involves dwarves, evil queens, ice magic, and giant goblins manage to be completely forgettable.
If nothing else, Criminal shows us the exciting possibilities of science. Namely, that if you’re a high-level CIA agent who gets tortured to death with a cattle prod, you can rest assured that your memories will live on inside the mind of a violent convicted felon with a bad haircut.
There aren’t many films that manage to push a blatant agenda while also executing that agenda in such a horribly ham-fisted way as God’s Not Dead 2, a movie packed with one-dimensional characters so cartoonish that they make Saturday morning children’s programming look like grounded, serious reflections of humanity.
My Big Fat Greek Wedding 2 is easily digestible, where the most exciting part of the movie is trying to spot who aged the worst in the 14 years since the first Greek Wedding (I’m looking at you, Joey Fatone).
They say that death and taxes are the two certainties in life, but I’d like to add a third: Splitting the last book of a young adult film franchise into two movies. And now, in spite of the dull chapter that is Allegiant, we still have one more to go: Ascendant.
Chiwetel Ejiofor, Casey Affleck, and Anthony Mackie lead a sweaty ensemble through this greasy, gritty ‘grime’ story. The characters are not the most welcoming bunch, but the story delivers strong visceral thrills in spades.
Race hits a few high points, assisted by strong performances from Stephen James and Jason Sudeikis, but the film fails to maintain its stride throughout its entire running time.
The Witch is the best kind of horror movie, in that it crawls under your skin, finds somewhere warm to snuggle up, and stays there even after the movie ends and the lights come back on.
In the weeks leading up to the Oscars, we’ll be looking back at some of our reviews for this year’s Best Picture nominees. Today, we’re revisiting Wil Loper’s review of Steven Spielberg’s Bridge of Spies, which is up for six awards.
In the weeks leading up to the 2016 Oscars, we’ll be taking a look back at our reviews of some of this year’s Best Picture nominees. Today, we’re revisiting Wil Loper’s review of Brooklyn, currently up for three major awards.
If we’ve learned anything from Hollywood, the day an alien invasion occurs will likely involve the intruders parking their giant spacecraft right above our major cities and just sitting there. Although The 5th Wave has a decent plot with a handful of twists, it all comes at the expense of painfully obvious dialogue, and predictable, derivative moments.
With the release of a movie simply called The Forest, one would expect this to be the definitive horror film that takes place amongst the scary trees, right? After suffering through a walk in this forest, that couldn’t be further from the truth.
Forgetting failed romances, plays within plays within plays, and multitudes of John Malkoviches are only a few pieces that make up Charlie Kaufman’s oeuvre. And now, with Anomalisa, he can add stop-motion animation with a man searching for someone to make him feel again.
This movie accomplishes a whole heck of a lot, but if nothing else, Star Wars: The Force Awakens shows us how much fun we can have at the movies. And what more can a moviegoer want from one of the biggest movie series of all time than to simply have a blast?
The holidays are a time for gathering with family, drinking eggnog, and of course, huddling around the fireplace in fear of the Austrian goat monster, Krampus. It’s a premise that’s ripe with possibilities for a horror comedy–one that this film mostly squanders.