Not exact matches
The best thing that can be said
about Bats vs. Supes is that it's rapid collapse at the box office may finally be enough to convince Warner Brothers to remove Snyder from any future DC Comics
films and give them to those who've show an ability to deliver movies with
coherent character, narrative and emotion in addition to pure spectacle — and preferably all of the above.
They definitely would have resolved the
film in a more
coherent manner, or at the very least made a joke
about what bad shots these skilled assassins are.
Okay, so del Toro still has a lot to learn
about coherent writing, but the
film is pretty good when it focuses on its real story — Elisa falling in love with the merman and hatching a plan to help him escape before he is killed.
There's a lot to unpack as it concerns director Kathryn Bigelow and writer Mark Boal's Detroit, and writing a
coherent review
about the
film feels almost impossible.
I also suppose that if I went and saw Alex Garland's Annihilation for a second time — maybe earlier in the evening when I'm not completely exhausted and half in the bag — I could probably come home with all sorts of theories
about what's really going on here, paying particular attention to those disappearing and re-appearing tattoos and sussing out the
film's fractured timeline into some sort of unified,
coherent thesis explaining this strange and mesmerizing movie for you.
Perhaps all would be forgiven if M: i: III were competently - directed (while M: I - 2 is one of the stupidest
films ever made, as John Woo is one of the best action directors of the past twenty - five years, damn if it's not beautiful,
coherent, auteurist stupidity), but it's a glassy - eyed, dead thing complete with superfluous flashbacks to events we don't care
about involving characters we don't recognize, an interminable party sequence in which Cruise trots out his smile like it was a weathered, beaten - down trophy wife, and a smug, self - congratulatory conclusion full of high - fives, victory arms, and shit - eating grins.
But Gamer does have that advantage of being a
film about just this sort of money - grabbing commercial excess, which makes the ludicrous and unnecessary third dimension offered by this set at least
coherent with the world that it's selling.
Movement back and forth between white and black, socially, geographically and racially is a recurring motiff of the
film, but I'm not entirely sure the
film has anything
coherent to say
about the subject.