Say what you will of M. Night Shyamalan movies, but there is a distinct signature flavor that runs through all of his work. It's a type of horror that takes seemingly familiar themes but instead of the predictable torture porn/possession/haunting tropes, Shyamalan gives it his signature twist that touches upon something almost primal.
In The Visit in particular, that unease is sharply contrasted by the nonchalant, easygoing personalities of Becca and Tyler. Both sibilings, while it's clear they are still…
The title song, sexy musical score, Wint and Kidd (their line deliveries are rather a piece de resistance), Mustang (one-sided wheelie!) vs police cop car chase, Blofeld twins, Blofeld in drag, and Tiffany Case make it a more watchable Connery Bond flick.
If only Case had covered up her bikini slightly more, she would have been able to conceal the tape. Then again we wouldn't have gotten Blofeld's soliloquy about her cheeks, I suppose.
So I've always wondered... why did Bond films insist on ending out on sea? Was that a Fleming thing or a general film trend?
As someone who read the book, I had my own preconceived notions of what Nick and Amy would look like or what Amy's diary voice would sound like. Though my version of Amy was a bit more shrill (yes, shrewlike) with a more constant state of narrowed eyes, Rosamund Pike brought a more subtle (and better, I admit) version to life that captivated me from the get-go. I mainly remember Pike as virtue personified in her role as Jane Bennet…
I don't know why I resisted laughing in the beginning of this movie but I stopped being a party pooper at the appearance of the $37 cup of coffee. I especially loved the ridiculous dei ex machina when they were momentarily stuck out on the sea. Perhaps blasphemy to some but this felt like a nimbler rendering of the story the emotionally cumbersome Wreck-It Ralph tried to tell.