A bit too on-the-nose. While both Swinton and Moore both deliver charged performances, dialogue is rather robotic.
Coloring and cinematography are the highlights here.
A bit too on-the-nose. While both Swinton and Moore both deliver charged performances, dialogue is rather robotic.
Coloring and cinematography are the highlights here.
Undoubtedly an important story to tell, I’m not sure this is the most effective way to tell it.
While a brave stylistic choice, the anachronistic meta structuring makes the story difficult to follow, quickly whipping you between the main plot and its more modern-day ramifications. If this was saved entirely for the finale, I think it would have been more effectual.
The continuous cuts from the main story leave pacing too stretched out. This feels more like a three-hour piece than its actual 140-minute runtime.
Performances—when allowed to continue for longer stretches—are strong yet appropriately solemn, but perhaps a bit too restrained.
This review may contain spoilers. I can handle the truth.
Over-acted and under-written. Relies too heavily on corny flashbacks and then keeps throwing new things at the plot that have little impact on the main story.
At least the casually racist mom has cancer.
Cheap but fun kills. Definitely an outlier in Bautista’s slimmed-down serious role era.
Clever enough but didn’t close the sale on the vision.