If deep themes and measured storytelling isn’t your style when it comes to horror, The Lodge probably isn’t for you. Recent examples of this include films like Hereditary, Midsommar, It Comes at Night, Hagazussa and The Witch. There’s usually a substantial gap between film critics and mainstream moviegoers when it comes to horror movies like The Lodge – an atmospheric picture that takes its time to tell an unconventional and ambiguous narrative that is far from one-dimensional.
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Impractical Jokers: The Movie opens in San Antonio theaters February 28. Of the pranks, there are a couple of sequences that would make actress Danica McKellar proud (one includes Murr getting an uncomfortable lap dance), but the majority should’ve been left on the cutting room floor-along with the entire screenplay. If the pranks are all they really care about, then just do the pranks and release it as bonus footage when the upcoming Season 9 hits DVD. What’s worst is that they, alongside co-writer and first-time feature film director Chris Henchy, drop the flimsiest of road-trip movie scripts into the middle of this project like it was an afterthought. For diehard fans of the popular TruTV program, which is usually quite hilarious, a feature-length version will definitely give them a fix, especially if they need more to live on than reruns of the first eight seasons, but the guys just don’t push their creative limits enough to warrant an entire film dedicated to their innocuous antics.
Johnny Knoxville and his crew from Jackass got their own trilogy, but reality pranksters Brian Quinn, Joe Gatto, James Murray and Sal Volcano should probably stick to the small screen for the foreseeable future. Let’s hope the “reality-TV-show-turned-movie” genre doesn’t find a launching pad after the debacle that is Impractical Jokers: The Movie. Whannell also loses his sense of direction inside his script and seems to be just fine with the splattering of plot holes he leaves behind. Although the first hour of the film is a great example of a slow-burn setup that lays everything on the line for Cecilia and includes some tense moments, the script loses its momentum once the ominous title character is revealed to be someone who could’ve easily been plucked out of the Marvel Universe. Instead, she thinks he has found a way to make himself invisible and is now stalking her and trying to drive her mad. Soon, she finds out that the price for the money is her sanity when she suspects that her ex, who worked as some sort of scientist, isn’t really dead. Her past, however, is far from behind her when she learns that her ex has killed himself and left $5 million to her in his will. In this modernized version, Whannell amps up the timely theme of the #metoo Movement when he introduces audiences to his main character Cecilia Kass (Elisabeth Moss), an emotionally, physically and mentally abused woman who finds the strength to escape from the boyfriend hurting her, so she can start a new life. Wells’ book of the same name from the late 19th century, the classic story has been adapted countless times before in the last 70 years. It might deserve some credit for injecting a few doses of effective horror elements into the form of psychological manipulation known as gaslighting, but the reboot of The Invisible Man by writer/director Leigh Whannell ( Upgrade) falls apart at the seams in the thriller’s hokey and illogical second half. Emma opens exclusively at the Santikos Bijou Cinema Bistro February 28 and expands to more theaters March 6. prevails with its beautiful, all-inclusive pageantry. From the production design and cinematography to the lavish and, at times, purposefully overdone costume design by Oscar winner Alexandra Byrne ( Elizabeth: The Golden Age), Emma. His aesthetic as a music video director for artists including Beck, Rilo Kiley and Florence and the Machine lends itself well to Austen’s witty dramedy in a way that doesn’t smother it in British stuffiness. separates itself from past interpretations is with the vision of debut filmmaker Autumn de Wilde. After all, she fancies herself a matchmaker. the period is not a typo - tells the story of Emma Woodhouse (Anya Taylor-Joy), a “handsome, clever and rich” socialite in her early 20s living in the fictional village of Highbury, who takes it upon herself to meddle in the lives of everyone around her. Here are short reviews of all the new films opening at San Antonio theaters February 28 and one we missed from last week.įor those readers who took naps in high school English class, Emma. Neon // Universal Pictures // Bleecker Street Media
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