Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (21)
| Top Critics (6)
| Fresh (14)
| Rotten (7)
Mr. Macneill and his co-screenwriter, Clay McLeod Chapman, have developed a feature stunning to behold if somewhat unpersuasive in narrative.
The film feels overly long, and while lingering shots of the mountain scenery do help convey the isolation of the deserted motel, too many of them feel repetitive.
While the score goes out of its way to make his every action feel sinister, the picture doesn't fulfill its horrific potential until the third act.
While it's admirable that director Macneill and his co-scripter Clay McLeod Chapman opted to emphasize mood and psychology over the story's more exploitable elements, it nonetheless results in a listless tedium.
The scariest aspect of "The Boy" is the extent to which Macneill makes it possible to sympathize with the troubled protagonist -- even as its haunting final shot hints at the horrors yet to come.
A 9-year-old sociopath stubbornly fails to become scary in this stillborn thriller.
With how slow the film is, and the fact that all the action only really occurs within the last 15 minutes of the film (and even then it isn't that action packed), I would say this film is definitely not for everyone.
A thoughtful story that is as touching as it is unnerving, The Boy is an unflinching & powerfully poetic examination of the human psyche that never passes judgment on its titular character, even after he's unleashed his inner lunatic on the world.
An austere and chilling portrait of America's abandoned margins, The Boy is a slow-burner that builds and builds to its climactic conflagration, and offers a dark, disturbing flipside to Richard Linklater's Boyhood (2014).
It succeeds in conveying the dark edge of an effective thriller, but it lacks the human sentiment -- the poignancy, the devastation -- that would've made it soar above less heady genre fare.
It makes no bones about the fact that there is something critically broken in Ted. The question for the audience is whether it is nature, nurture, or a mixture of both.
Not since Henry: Portrait of a Serial Killer has a movie gotten inside the head of a killer with such cold-blooded artistry.
As innocuous as its title, it is awfully directed and edited, poorly paced and hugely incompetent in whatever it is trying to do as it fails to portray the kid's evolution into a psychopath (he comes off as just annoying), and it is only not a complete disaster because of its forceful ending.
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