Every brand name must have a commoditised value to Hollywood these days, right? Why else did they release a film based on a mobile phone game? Why remake Mary Poppins? Why bother rebooting the Power Rangers when it screams of Dragonball: Evolution Part 2 (although I’m strangely rooting for that one)? The reason for Warcraft’s existence surely lies in the licencing department of Legendary Pictures: “We’ve got this property, $160 million to spare, and people kind of like that Game…
I only know Peckinpah from his reputation, so I don't think I can judge definitively until I see more of his work.
What I will say, though: the final 30 minutes are sublime, while the first 45 minutes as they 'build tension' drags. Straw Dogs works well for its moral complexity, but is somewhat undone by its visual reductivism. For example: the sexual politics are dodgy at best - whether we're meant to be voyeuristic towards Amy or disgusted by…
This review may contain spoilers. I can handle the truth.
A series of competent action sequences that only requires Tom Cruise’s participation due to the need for a conventional narrative throughline. The ‘Spielberg’s Children’ trope is on par with Poltergeist (which he produced) for being at its worst here - two shrill, self-centered kids; petulant and ungrateful and just plain dumb. And are we going to explain how Robbie survived an explosion the size of Birmingham? No? Fuck it.
Still, it’s marginally better than the 1953 film because it spares us the theological bullshit.