Edgar Zapata

As usual excellent performance by Kendricks. The writers made no effort to have the dialog fit the 70s though, with obvious current lingo at times. Set pieces and clothes were also off at times, too much early to mid 80s. Overall not very watchable unless fine with constantly wincing at this lack of authenticity.

The individual scenes intrigue, shiny little objects that held my attention in the moment. Scene after scene. But the whole does not hold together, anymore than all those trinkets in that curious little store. The premise at the end is disappointing, mundane. With a dose of big woop.

Admittedly, I’ve grown increasingly wary over the years regarding stories billed as science fiction, where there is obviously no interest in the impacts of science on characters, plot, or theme. “Foe” is no “Ex Machina.” Left to tell when this happens is if the story stands on its own, where speculative fiction meets (brace for it) the “human condition” and our “innermost hidden selves” on a “journey” of “mind and…” and so on and so on with the banal wording haunting us in smaller font on too many book covers or movie bylines. “Foe” also fails to work on this level, showing us two uninteresting sorts full of foibles and regret, happy searching more than finding, leaving the viewer the worst for wear.

Another addition to the drug war genre, with confusion as the only given. Watch for the first 30 minutes or so especially, the strong start. The rest proceeds apace but does not recreate this opening salvo, even as the questions resolve.

Funny good hearted story telling around characters that grow, weather they want to or not.

Silly pop-corn B-movie sci-fi that gives new meaning to meandering dialog and...slow...so...slow. Still, watchable for kicks, cracking jokes along the way. Like when the kids close a gate with aliens on the other side, why is this the moment to pause and talk? Hilarious. I'm starting to root for the aliens. Then the kids run.

Penny Dreadful, goth as if it was today. This short series, all too rushed at the end, will make you care about the monsters and the creators. See Eva Green at her best, and everyone else too, Piper, Treadaway, Roy Kinnear, Hartnett. You will feel sad and engrossed and the end that is also a journey, all at the same time.

I thought this movie dull and slow the first time, and may have caught a nap. Yet oddly, I saw it again years later, not an easy feat. It called me back. And then again. I'm watching it now for the 4th or 5th time. And I am lost in it. This is a good lost.

Time travel is nearly all metaphor in literature and movies. That is, there is no real interest in either the possibility, its implications or the mystery of time. It's just a writers means to an end for introspection about our human condition. In the Time Travelers Wife book it was 100% metaphor and yet it worked. Where the movie version fails is it takes the 100% metaphor and pushes it back into background noise. It just doesn't work that way. It all seemed too mundane rather than surreal. Not to mention the ending just fails as compared to the book.

A Thin Red Line is a fusion of violence, senselessness, human frailty and beauty, leaving no answers. This is why it works. It's all over and too much to take in, a powerfully emotional yet oddly unsentimental effect.