Tag Archives: Bryce Dallas Howard

Terminator Salvation Review

Grim, grey palettes and an ensemble separated from one another with little reason, what a quick and horrid change of pace Terminator Salvation is compared to the previous instalment just six years before it. Grip the fun of the third instalment like it were the final days because that is the last film in the series to inspire any level of slight enjoyment. Even then, the confusion founded in Terminator 3: Rise of the Machines was on thin ice to begin with, the rest of the series is the scurrying fear of trying to break free from the depths. No such luck for Christian Bale and Sam Worthington, who don’t quite get to grips with the worldbuilding around them, or lack thereof. Even with simplicity and the fears of a new Terminator model, they struggle to figure out their place in an ever-changing landscape of miserable characters and poor twists.

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The Village Review

Worldbuilding, as author P.D. James would find with her novel, The Children of Men, is not easy. Difficult it may be to sidestep the usual comparisons to the worlds that would seem similar to a unique idea, The Village does quite well in side-stepping the potential collations and references. It is no surprise that M. Night Shyamalan manages this with ease. Although his Victorian-era-like feature relies on the drab clothing and community spirit of a small village, it is not until the howls and wonders of the fields beyond the hamlet are focused in on that any turn for originality is presented. Lucky for audiences, that is immediate. The low-hanging camera focuses on an elated and embarrassed Adrien Brody, clapping, cheering and soon falling quiet when nobody joins in with his love for the ominous. 

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Hereafter Review

As he stumbles towards the tender, twilight years, Clint Eastwood has begun to toy with what death means. Hereafter would be quite the fitting swan song, considering his attempts at touching on the world around him would leave him with a chance to enclose his promising thoughts. But it was not to be, he would go on for a decade after this, making far better films in that span of time. They detail the thoughts he has here far better, and it makes Hereafter feel like a bit of a redundant, albeit well cast, feature. Jay Mohr and Richard Kind may feature ever so briefly, but they are washed away by Matt Damon, as are some other characters in a more literal sense in an opening that sees them meet with death, but avoid it ever so briefly.

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Spider-Man 3 Review

How far can one man fall? Surely Spider-Man 3 is not the car crash audiences remember it as. But, then, it is easy to consider it such considering how unfulfilled and frustrated Sam Raimi sounds. Development hell spins its way through the final instalment of the famed and acclaimed Raimi trilogy, and it is hard to ignore. Too much to show, too little time to show it. Spider-Man 3 is an ambitious feature, but it is hard to escape the issues at hand. The lack of focus on one, core villain, and the aimless development that follows is too much to handle. We must instead ride the waves as they come, some will knock us overboard, but trust in Raimi to deliver us through a comical, interesting feature that leaves us hanging around hoping for more.  

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Gold Review

Tragic it may be that the titular Spandau Ballet song is absent from this Matthew McConaughey feature, Gold has bigger problems on its mind than musical omissions. Its story of a modern-day prospector should offer up daring adventure and dramatic, cutthroat business dealings. Instead, it can only hope to copy those that came before it. We cannot expect everyone to be original, but when you fall toward captivating and controlling the themes of American Hustle, you find yourself in dangerous waters indeed. That is where Gold finds itself, and it can do nothing to haul itself out of that dangerous zone. 

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