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Gillian Flynn's nearly airtight screenplay paired with David Fincher’s remarkable ability for presenting a compelling visual narrative treats us to a seamless transition of Gone Girl from the page to the screen.

There’s an interesting story about how the aesthetically horrifying doll Annabelle came into existence just waiting to be told. Annabelle, unfortunately, is not that story.

Nicolas Cage continues to pay off his gambling debts with LEFT BEHIND, a kooky religious thriller that could rival THE ROOM and BIRDEMIC for silly fun.

For all its shortcomings, and there are many, The Good Lie comes across as a humane work set to inspire compassion in its viewers without manipulating them.

John Curran's adaptation of Robyn Davidson's memoir Tracks is a story about isolation, set against some of the most beautiful Australian Outback cinematography I've ever seen.