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Though populated with exasperating vernacular and bleak visual motifs, “Not Okay” chronicles a stimulating tale that leaves audiences entertained, upset and pensive all at once.
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“The Outfit” is at its best when it interrogates moral ambiguities or, at the very least, provides a cheap thrill in the form of an undulating plot that induces bated breath. Regrettably, it is wont to lose sight of both.
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Actor Dylan O’Brien sat down virtually with the Berkeley Forum on Tuesday to speak about his experiences in the entertainment industry.
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The film is all the better for its (relative) sense of restraint, allowing Charlie’s relationship with Bumblebee to be foregrounded instead of relying on relentless action. For once, the human characters in a “Transformers” film are more than audience placeholders.
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Surprisingly, Ball took less of a scalpel and more of a chainsaw to the series’ plot, essentially rewriting its middle and streamlining its narrative.
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At best, “American Assassin” suggests that bad guys can exist anywhere, and the only reasonable solution to this problem is to stick to your guns.
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There’s a tiny moment in the first 20 minutes of “Deepwater Horizon” — a three-second interior shot of Mark Wahlberg’s character, Mike Williams, driving down a Louisiana highway — that embodies everything that the film is trying to do. It may go unnoticed by most, but there’s something just that
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