One look speaks volumes. We can feel the desire emanating from the screen, the magnetic pull bringing Therese Belivet and Carol Aird together from across a crowded room. That type of moment plays out through the entire movie, each time growing heavier and lovelier as the two share fleeting touches and lingering glances. This is pure attraction, plain and simple, and it’s conveyed in a natural, tender, and deeply affecting manner.
Holy shit is right. This is undoubtedly going to be a polarizing episode for the viewers, but it’s one that gripped me from start to finish. It’s both hilarious and absolutely devastating, and it rides a trippy wave of energy as it plunges deep into the show’s supernatural elements. It’s not an episode that takes us on a “WTF?” journey just for the sake of it; it’s also a character and theme study that deftly brings us back to the beginning of the season. Goddamn, this hour is a pleasure to watch unfold.
Creed is a crowd pleaser that doesn’t really carve out its own identity, but a lot of that crowd-pleasing just plain works. Ryan Coogler’s dynamic filmmaking serves the boxing sequences well, particularly an early one-take scene that generates quite a bit of excitement and creates a wave of energy that the movie rides all the way until the end. We’ve seen it all before, but it’s done well for the most part.
Written by: Maria Ramos
The bloodcurdling scream. The dead telephone line. Suddenly the electricity doesn’t work and no one is around to help. It looks like someone is going to die. Or at least, it used to look that way. Nowadays, there’s always the silent alarm, the motion-sensored lights and the handy cell phone ready to come to the rescue. And when all else fails, a Twitter mayday tweet generally does the trick. Which means that as terrifying as those old horror tropes were, it is time for an update.
“It was finally over. That’s freedom.”
So far this year, The Leftovers has focused on the concept of faith, on why we feel the need to believe as we navigate the often illogical world around us. “A Most Powerful Adversary” reemphasizes that point, but it also delves into our desires to simply escape, to just end things and be free of the worries that have constantly plagued us. The central figure for this exploration is Kevin Garvey, someone who has tried before to escape and has felt a heavy weight on his shoulders since the beginning of this all.
The shuffle of papers drives Spotlight. Notes are furiously scribbled on pads, documents are constantly pored over, and the full, horrifying extent of the central story is revealed in the newspapers. It’s an important story that doesn’t feel important (something Truth unfortunately succumbed to). It may not be the most exciting set-up in the world, but when you have such a stellar cast and the director of masterpieces like The Cobbler behind the movie, it’s bound to be good.