There’s barely enough substance in Destroyer to support an Aesop’s fable, let alone a Los Angeles crime epic.
It’s difficult to think of a film more out of step with the current culture than Eli Roth’s Death Wish remake.
Its gory conclusion is presented with an ostentatious grandiosity that the rest of the film simply doesn’t justify.
Unwittingly perhaps, Sand Castle reveals itself as a microcosm of America’s foreign policy in the Middle East.
Joel Edgerton’s boilerplate direction is a blessing for a genre increasingly saddled with literal visualizations of madness.
This time around, in spotlighting Liam Neeson’s fatigued charisma, Jaume Collet-Serra’s formidable filmmaking chops have plateaued.
The signal refers to the Nomad hacker’s taunts, though it may as well point to the film’s nature as a self-styled calling card.
Ryuhei Kitamura’s latest genre bloodbath is par for the course, in spite of the occasionally flourish of interesting subtext.