C.J. Prince

Exhilarating, tense, personal, and enigmatic, Barrio Triste is a compelling look at a lost generation in search of salvation, and among this year’s best first features.

Rather than certify McCarthy’s status as a new master of horror, Hokum reaffirms his potential, and what should have been a step up serves more of a slight misstep.

Two Pianos amounts to a glimpse into a brief, tumultuous time in these two people’s lives, where they take a short look at what could have been and nearly combust at the sight of it. Desplechin’s ability to find the raw, human qualities in that experience––and to respect them enough to understand that they can stand on their own rather than be weighed down by narrative contrivance––makes his movie an ideal example of what a prestige film should be.

It’s an adaptation that expands and contracts its source material in different ways––some successful, others less so––and a perfectly fine bit of psychological horror that understands the strengths of what it’s working from, even if it has little interest in trying to make them stronger.

Even if its airy, lighthearted tone may make the film too frivolous for some, at least The Paragon knows what it is, and more importantly knows how to have fun with it.

The biggest issue Ick faces is its ability to sustain momentum.

All technical prowess, from Flanagan to his strong ensemble cast, can only go so far when it’s in service of such shallow, offensive escapism. This is a childish take on a universal experience and everyone, from the people involved in the production to the viewers, deserve better.

It’s a rich subject that Heller dives into without hesitation, including some of the thornier aspects, until a disappointing final act where she settles on basic end points for her ideas.

For a good stretch of time, though, The Count of Monte Cristo is a prime example of popcorn fun, even if its filmmakers might have not intended for it to be laughed at as much as I did. But whether it’s for the right or wrong reasons, a good time is still a good time.

Timpson, along with co-writer Toby Harvard, prefer to take the easy way for achieving their goals, the film leaning into dated comedy and a relentless charm offensive that makes its efforts too strained to fully embrace.