Seven-plus years after the found-footage film Cloverfield brought back gigantic movie monsters in a really big and dizzying way, 10 Cloverfield Lane picks up the pieces and goes for a counter, but somehow intuitive, minimal approach.
Eschewing the first movie’s first-person cameraman style that induced a level of dizzy spells and motion sickness unseen since The Blair Witch Project, the blood-related sequel is the cinematic equivalent of a bottle episode with scenes of intense drama unfolding inside the confines of an underground doomsday shelter.
Aspiring fashion designer Michelle (Mary Elizabeth Winstead) leaves New Orleans after her relationship with boyfriend Ben becomes untenable. Driving through a rural area, she takes her eyes off the road when Ben calls and is suddenly driven off the road after a collision.
She wakes up in a DIY doomsday shelter owned by the unsettling Howard Stambler (John Goodman), an obsessive-compulsive with a calm exterior who suddenly flies into fits of rage when his guests don’t obey his every command. Stambler’s spent a lifetime of resources to plan for the end of the world, and it’s finally come.
Aged actor most popular for playing superhero wearing an animal costume tries to resurrect career — or at least stay relevant — by going to Broadway.
No, it’s not a semi-autobiographical movie based on Michael Keaton’s life, even if his performance is incredibly sincere and authentic. Rather, Birdman — or the movie in which a famed real-life superhero actor plays an actor who once played Birdman — is a mid-life crisis or the symbol of one in a meta-tastic film that’s like nothing you’ve probably seen.
Riggan Thompson (Keaton) is about to premiere a new Broadway play based on Raymond Carver’s “What We Talk About When We Talk About Love.” As director, writer, and starring actor, Thompson has poured his life savings into the project as well as the last hopeful remnants of his legacy, and he’s starting to fall apart at the seams. When he’s not arguing with his inner Birdman, a super-alpha version of himself that waits for weak moments to tempt him back to the dark side of a Hollywood-miserable life, Riggan walks a mean tightrope as he juggles his out-of-rehab daughter, a cast of actors that includes his just-announced pregnant girlfriend, and the expectations of all his fans and critics.
War movies are pretty played, says the cynic in me.
Diamonds — they’re a cultural phenomenon that have made their way into the hearts of minds of people through marketing campaigns proclaiming diamonds to be, among other things, a girl’s best friend.
Reign Over Me is a frustrating film full of merit but weak on execution.
The acting is great, the main characters are deep, and there’s enough dramatic tension to provoke an emotional response.
But for all of its passion, there are too many characters and a noticeable attempt at creating overwhelming drama.
For Dr. Alan Johnson (Don Cheadle), life is good but not perfect. His wife smothers him and the dentists riding his coattails at the successful practice he’s created don’t respect him.