I really want to like Collin Trevorrow. The silly side of that is that I just really want to be hopeful about Episode IX, but the real side of it is that I don't enjoy disliking directors-- or perhaps that I know I shouldn't be rooting for someone's film to wind up being a spectacular dumpster fire. And so, I saw The Book of Henry with as much of an open mind as I could muster, and when Giacchino started…
I thought the exact same thing at the end of It Comes at Night that I thought at the end of Krisha last year: "That's... that's it? That's really it? That's all you're gonna do? That's where the story ends?"
Sure, its visuals are occasionally evocative and its performances are authentic -- Joel Edgerton really can do no wrong -- but it just doesn't amount to much in the end. It's a high-brow film school exercise that never really rises…
To its great credit, Silence may be the most complex and challenging film about faith I've ever seen, both brutally and wonderfully honest about the joys and frustrations of belief.
It is absolute proof of just how utterly vacant, disingenous, and horribly dishonest this recent trend of schlocky evangelical films-- Miracles From Heaven, War Room, God's Not Dead, etc.-- has really been. This is how you make a film about faith.
I'll be thinking about this one for a long time to come.
The best film so far in DC's cinematic universe, but only by default. Also, probably the best Zack Snyder movie Zack Snyder hasn't directed, but again- if that sounds like damning with faint praise, then it's because it is.
At the end of the day, it's just a bunch of harmless CGI nonsense, and I'll probably forget half of it by lunchtime, but boy is this just absolutely nothing special- a total mish-mash of bits and pieces we've seen from…