The weirdness Besson really has in mind is decidedly uncommercial at best, inscrutably indulgent at worst.
The Purge: Anarchy
The proper Purge film that should have been made in the first place.
Bonds born out of art, and specifically music, are nothing new in the movies, but Carney conveys the uniquely exhilarating romance of the creative process behind art like no other filmmaker.
Magic in the Moonlight
Doing what can best be described as a more extreme take on his characteristic screen persona of a colder, deadpan, oh-so-British type, Firth further amps up the condescension and arrogance to comically caustic levels.
Transformers: Age of Extinction
It is frankly pointless to knock its quintessentially Bay aesthetic of massive mayhem and the equally shameless broad corniness of its humor, for all of that is clearly what the film was meant to be and dutifully delivers.
How ironic--and disappointing--it is, then, that a film focused on one of the big bads for the ages is just about completely drained of menace or palpable danger.
X-Men: Days of Future Past
Captures the true essence of what has made and will make the X-Men's uncanny popularity survive and thrive in days of future and past.
Kochadaiiyaan: the Legend
The virtues and achievement of Soundarya Rajinikanth Ashwin's sincere, go-for-broke ambition manifests in not easily discounted ways--not least of which is the ever-commanding presence and conviction of South Indian cinema's singular Superstar.
The Pavement Psychologist
Whatever the piece may ultimately lack in substantive story, it definitely compensates in character, both in the literal sense of the solid work writer-director Idris Elba coaxes from the whole cast and in the already distinctive personality of his still-nascent filmmaking voice, which promises to only polish and sharpen right along with his skill on subsequent projects.
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