Undertone is creepy enough without needing to knit its haunting into its main character’s background so clunkily; ironically, its most effective moments are ones of stylistic indifference.
Like Shelley’s much-adapted creature, The Bride! is a creation of enormous ambition. It’s also an incoherent disaster — and not of the noble folly variety. It leaves you with the sinking feeling of watching someone fight their way to the front of a crowd to speak, only to realize when the spotlight is finally on them that they’re not actually sure what to say.
Hoppers is a fun, modest little movie with enough zip and charm to keep kids engaged, and as such, one doesn’t want to criticize it too much. But the memory of what Pixar once was, the behemoth that redefined animation for multiple generations, may still make us wonder where all that energy and originality and artistry went.
The film Segan has made is very much its own thing. It’s a twilight fable of a city that’s changing, whose spirit remains distinct and grand and full of mystery, much like the remarkable actor at its center.
