REVIEW: Maze Runner: The Death Cure [2018]

It’s about knowing when you’ve lost. Could you sacrifice a percentage of the population if it meant saving mankind in its entirety? What about if it merely gave you a chance at that salvation? These are the big questions we ask ourselves at the end of the world—ones that force us to face the reality of our inevitable demise. We can infer that we’ll reach this point because we made a wrong decision in the past. And if the whole reason we’re about to be lost forever is our fault,…

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REVIEW: King Arthur: Legend of the Sword [2017]

“We all look away” The magic has once again been returned to the lore of Excalibur in a way that brings it closer to World of Warcraft mysticism than Sword in the Stone trickery—for better or worse depending on your interests. I for one actually liked Antoine Fuqua‘s King Arthur from 2004, its decision to do away with the spells not wholly destructive to the very fabric of the myth like removing the Gods was to the debacle that is Troy (rather than an expertly placed hit, its ankle shot…

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REVIEW: Sing Street [2016]

“Happy sad” Writer/director John Carney emotionally stripped ex-The Frames bandmate Glen Hansard bare in his 2007 feature film Once and now he does it to himself. The hiccup that was an attempt to recreate lightning in a bottle despite the conscious addition of polish and star appeal with Begin Again is thankfully a distant memory because the musical dramatist has again struck gold by sticking to his roots, his home, and his heart. A semi-autobiographical tale about a young boy’s life being upturned in a way that pushes him towards…

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REVIEW: Maze Runner: The Scorch Trials [2015]

“Where did you come from? Where are you going? How can I profit?” Full disclosure: I haven’t yet read James Dashner‘s Maze Runner series so I’m not sure if his second installment is as hollow as the film version, but I hope it isn’t. Many people have told me that T.S. Nowlin‘s script virtually rewrites the entire thing—not always bad (see Insurgent bookending its tale correctly despite changing the middle to be more cinematic)—so I’m retaining my optimism the text lives up to the first story’s potential because what director…

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REVIEW: Calvary [2014]

“I’ve always found forgiveness to be underrated” I’m not a religious man—hell, I’m barely agnostic. I’m also not sure if that truth helps my finding John Michael McDonagh‘s Calvary as powerful as I believe it to be or simply evidence of it’s universality for both churchgoers and not. A reflection on faith, God, and ourselves caught within a present where destruction is immensely more prevalent than salvation, this story cannot help but touch you on the basest level of humanity to ask whether or not you can be better. It’s…

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REVIEW: Beneath the Harvest Sky [2014]

“I’ll figure it out” A movie doesn’t always have to be one hundred percent unique to prove effective if those involved propel it above cliché through authenticity. Writer/directors Aron Gaudet and Gita Pullapilly‘s Beneath the Harvest Sky is a prime example, seemingly familiar from frame one and yet still resonate. You have your down-on-its-luck town on the Maine/Canadian border, its thick-as-thieves high school friends (one a bruiser the world dismisses, the other a kid with promise) planning a post-graduate escape, and the rampant drug trade threatening to consume them both…

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REVIEW: The Dark Knight Rises [2012]

“Sometimes the pit sends something back” **Potential thematic spoilers** The trailer for the aptly coined ‘epic’ conclusion to director Christopher Nolan‘s caped crusader trilogy—The Dark Knight Rises—says it all through an emotional exchange between Batman (Christian Bale) and Catwoman (Anne Hathaway). Lamenting in her trademarked selfishness that he doesn’t “owe these people any more” and he’s “given them everything,” she begs to run away from the anarchy ravaging their once great city of Gotham. He did his best, admirably failing. Having none of it, though, the billionaire playboy who molded…

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REVIEW: Blitz [2011]

“Do I look like I carry a pencil?” With a name like Blitz and the surly visage of Jason Statham on its poster, one would expect this British flick to be an action-packed romp with little plausibility. Surprisingly, however, Elliott Lester’s film is a straightforward criminal thriller using its star’s penchant for brutality as merely a character trait rather than a lifestyle. Hotheaded, temperamental, and never one to follow authority too closely, Statham is on the right side of the law this time. A Detective Sergeant going by the name…

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