2019 has been a rough year for franchises. Men in Black: International doesn’t buck the trend.
Cold Pursuit puts a darkly comic spin on the time-honoured Liam Neeson revenge movie.
But Widows exhibits cosmetic similarities with the heist genre, it resolutely resists generic conventions.
Like Non-Stop, The Commuter twists absurd action around an Agatha-Christie-esque closed-room mystery.
Silence subtly subverts the insidious narrative of meaningful misery that’s so ubiquitous in Western (and Christian) culture.
There was a heaviness in the air when I put on The Grey Blu-Ray. It was Monday night; not long after the news of Bowie’s death, not long after a friend’s father had passed away. The air was warped by the weight of the precariousness of life, particularly given my own circumstances; I was visiting my parents…
Looking back at The Fast and the Furious (in case you’re puzzled by the title, that’s the first one, made in 2001) from 2015, the film looks a lot like a stepping stone. An unassuming genre picture that shared more than a bit in common with the preceding year’s Gone in Sixty Seconds remake, its…