Arthur
the King
|
These are very different modes of storytelling, obviously, and the simple
trick of director Simon Cellan Jones is to embrace the inherent strengths of
both.
|
One
Life
|
The movie has a foundational narrative issue, and that's simply how little our main character
has to do in and with about half of the story here.
|
Knox
Goes Away
|
As a thriller, the movie doesn't function, because it intentionally keeps far too
much information from us.
|
Snack
Shack
|
Such little details feel authentic, but the
bigger ones here are either too contrived or
clichéd to seem as genuine.
|
Uproar
|
Uproar is a smart
and considerate film about one young man's personal and political awakenings.
|
Irish
Wish
|
The movie
is in such a rush to hit every imaginable cliché that it downplays the
potentially thorny and funny idea at its center.
|
French
Girl
|
French Girl is a pitiful excuse for a comedy
that's made even worse by the off-putting character around whom it revolves.
|
Frida
|
Another perspective or set of
perspectives might have opened up
Frida and its primary subject to a deeper examination.
|
The
Animal Kingdom
|
The Animal Kingdom takes an admirably
grounded but disappointingly shallow approach to its science-fiction premise.
|
Club
Zero
|
It's just thin and repetitive
in terms of its single joke.
|
Love
Lies Bleeding
|
It's a fun throwback with an
admirably streamlined plot that depends entirely on characters doing what they
think they need to do—no matter how bad an idea those actions may be.
|
The
American Society of Magical Negroes
|
Libii really does seem to lose the bite and, by the end, the point of those
deeper issues.
|