Greta (2019) - Movie Review

When crafting a story, there is always that feeling that there is more that can be done with the premise. No story is capable of exploring every single facet that it brushes against, and when dealing with something as intensive as cinema, the smaller details require as much preparation as humanly possible.

I’ve covered a few movies in the past that felt like they were trying to make statements on anything and everything connected to its core idea, but movies feeling cluttered doesn’t get a gut rejection from me as a critic. All I really ask is that, if something is going to be brought up on-screen, it should at least be given enough weight that it makes sense why it is being highlighted. For a good example of this, there’s last year’s Suspiria, which not only dealt with a whole slew of different ideas but managed to give all of them room to breathe so it all made sense. For a bad example of this, we have today’s Chloë Grace-Moretz feature.

Zhong Kui: Snow Girl And The Dark Crystal (2015) - Movie Review

In my short time of compulsively watching as many films as I do, and even shorter time of reviewing them for public consumption, I feel I have covered a wide spectrum of films in that time that I have given a wide spectrum of reactions to. However, no matter what film I looked at, no matter how out-of-my-depth I may have been concerning the genre, country of origin or subject matter, I always prided myself on being able to articulate exactly why I felt the way I did about each one of them. Sure, I’ve had films that were difficult for me to pin down: Birdman took me a while to really collect my thoughts about, 12 Years A Slave had me hesitating because of peer pressure and how much the rest of the world seemed to love it and God’s Not Dead had to be severely edited from the reams of notes I wrote on it so as to not piss off every religious group under the sun, or rather out of paranoia that that would happen. Today, however, I think I have found a film to top them all in that regard.