Image: Universal Pictures
Every few years, a literary thriller takes the world by storm, before then inevitably being turned into a movie.
Paula Hawkins’ The Girl on the Train, the latest of such runaway bestsellers, owed more than a bit of gratitude to Gone Girl, Gillian Flynn’s massive book from a few years ago.
The movie adaptation of Gone Girl was comprised of many brilliant facets but marred by a poorly conceived and written third act.
Tate Taylor’s adaptation of The Girl on the Train wants to be the next Gone Girl even more desperately than the book did, but flips the ratio of problems: it’s comprised of many dumb factors but almost saved by possibly the best performance of 2016.
Continue reading →
Photo: Paramount Pictures
In an alternate universe somewhere, Bond movies are still fun.
Don’t get me wrong; Daniel Craig’s adventures in the tux have been (mostly) great, and Skyfall ranks as one of the absolutely best 007 films, but the series lost something when it consciously forsook its trademark over-the-top spectacle and winks to the audience in favour of basically becoming a British Bourne.
Thankfully, the Mission: Impossible series, struggling after a confusing first entry and a downright awful second one, picked up Bond’s dropped baton and has run with gusto. Mission: Impossible — Rogue Nation continues the streak of top-of-the-line action, unflappable charm, and insane adrenaline that its two most recent predecessors tackled with aplomb, firmly solidifying the Mission: Impossible series’ reputation as one of the most impressive action series in cinema. Continue reading →