By the end, The House with a Clock in Its Walls completely loses sight of the trauma and grief that was meant to give the film its emotional core.
Jonah Hill’s feature-length directorial debut, Mid90s, is a repository of contemporary indie trends.
The characters’ emotional vacancy feels like another auteurist tic to which Lanthimos is dauntlessly committed.
A blackly comic performance by Colin Farrell provides the emotional anchor for Yorgos Lanthimos’s film.
It feels like Sheldon Wilson tossed a bunch of third-hand scares in a blender and set it to puree, resulting in a gray, flavorless sludge.