Extinction is wry enough to avoid its title.
It’s a Memento meets A Beautiful Mind thriller about a Basque man who discovers that there is a mathematical correlation between a convenience store shooting tragedy and the same spot’s past, present and future.
Adam Sandler produced Netflix movies aren’t about the quality. They are about how much stuff they can get away with, the more sexual the better. The plots are just setups for the gags. Father of the Year excuse is about an idiot long haired alcoholic father (David Spade) attempts to impress his valedictorian son that…
How It Ends is one of those post apocalyptic movies that test one’s patience for the unanswerable.
There is no explanation, no backstory just observation enshrouded in mythic layers of beautiful cinematography. Everything is left to interpretation, which is both besides the point and probably is the point.
The latest adaptation of White Fang, now streaming on Netflix, tries to maintain a balance between London’s naturalism and family dog domestication.
When the expected Deliverance moment comes it is both false and awkwardly right. They all get through the rapids not shattered, just a little bit better men, friends and maybe understanding and appreciative parent and child.
King of Peking (streaming on Netflix) proves that the best buddy films are created by fathers and sons.
Any hopes that Artificial Intelligence might achieve greatness, humanity or even some kind of non-revolutionary singularity are dashed by the averageness of AI movies. Tau, a Netflix sci-fi original, proves that garbage in garbage out not only makes buggy code but seriously faulty robot movies. If the soul (Ed Skrein) behind the soul of the…