Joe Cornish's film is vigilant in its positivity and hope for the future at nearly every turn.
It recognizes that the thinly veiled secret of Wolverine’s loner act is that he’s always been a cog of some kind.
The film is an unambiguous endorsement of violent revolt as the only effective response to such inhuman savagery.
This fascinating, ironic, dry telling of the legendary Burke and Hare story receives one of Shout! Factory’s very best transfers.
Ultimately, the time-traveling conceit feels like a shameless ploy to further expand the franchise’s narrative universe.
With dubious scruples, and much Broadway-style caterwauling, the film imagines what The Wizard of Oz would look like with a should-have-gone-straight-to-video chimney on her.
Patrick Stewart’s performance is practically an argument for Stephen Belber to take the actor on the road as a one-man spoken-word act.
I recently talked to the actor and director about their long-term friendship, and about the two plays at the Cort Theatre.
Like your buzzworthy British stars and venerable greats in the same place?
A staggering achievement of bloated artifice, dismantling the Arthur Legend one invigorating aesthetic swipe at a time.
It boggles the mind to think that within the span of a mere three months, two new and very different films penned by Dan O’Bannon were released.
The 2009 BBC recording of Hamlet (based on a 2008 RSC stage production, using the same director and same cast) also gives a poignancy to the text that I’ve rarely seen, in addition to its typical verbal wizardry.
It partially redeems Katsuhiro Otomo’s legacy by supplying a coherent narrative to go along with its stunning imagery.