You’d swear you were watching a Sergio Leone spaghetti western. But it’s by a Danish company, starring a Dane (Mads Mikkelsen), and directed by a Dane. Does that make it a stegte-sild western instead? Even odder: it was filmed in South Africa (which I didn’t realize till I saw it in the credits). Whatever and wherever, it’s a well-done, if familiar, western (despite Jeffrey Dean Morgan’s villain being a bit over the top).



Supposedly true and based on the Chinese underworld scene in NYC during the 1980s and early 90s, this could have been exciting, but it’s a snoozer. Ray Liotta appears for maybe 10 minutes (probably as a favor to producer Scorcese). Doomed by too small a budget, too many characters, too-small sets (it appears to have been shot in real tenement apartments), and a script that never comes to life.



If you’re not already, this will make you a Geoffrey Rush fan. I don’t want to say too much about the film because it’s best enjoyed by going in clueless with no expectations. It’s so well filmed, especially the opening sequence which firmly establishes Rush’s character with little or no dialog — pure visual storytelling. Just sit back and enjoy.



Apparently some viewers/critics took this film seriously. I found it laugh-out-loud-funny at times. A whole buncha people want Alice (played by the very pretty Alice Braga) dead — some DIY types plus her ex-husband who hires a contract killer (Simon Pegg). It has the noir sine qua non of events spiraling out of control but lots of farcical elements as well. Filmed along a beautiful stretch of coast in Western Australia.



(spoilers ahead) Once you accept the bizarrely intricate setup (I suggest calisthenics for your suspension-of-disbelief muscle), this is a fascinating movie. I’m a sucker for anything involving the singularity and this is a truly unique approach. Ana is a marvelous mix of human and CG imagery and, as portrayed by Alicia Vikander, totally engaging as a character. You can’t blame Caleb for falling for her. Nathan’s hubris and self-imposed isolation seem over the top at times, but work for the story. I don’t want to say much more. It’s a quiet film — even the brief burst of violence is low key. It’s loaded with dialogue – but clever, intelligent dialogue. Keep your ears open. Thoughtful SF with slowly building suspense mixed with growing sexual tension.



Well, this was a pleasant surprise. It has its plot holes but gets big points for originality (we don’t need another haunted house movie) with a relentless, homicidal, supernatural stalker passed on like an STD. The film doesn’t explain what it is, how it came to be, what’s its agenda. It simply is what it is and does what it does. The working class suburban setting and the real-looking teens lend the film a gritty feel. The camera work, the low budget, and the minimalist score give it a real =Halloween= vibe.  The moral dilemma presented to the characters and the audience places this a cut above the pack,



Will Smith has matured into this sort of role, where he’s the teacher rather than the student.  He’s smooth, the cast is excellent (Margot Robbie is new to me but she’s easy on the eyes) and the script has some interesting scams. I didn’t feel any real chemistry between Smith and Robbie that’s no biggee.  Hardly a riveting film but I was engaged and entertained (although the end was hard to buy). A lightweight diversion.  Some days that’s all you need.