In 'The Patient,' Patience Doesn't Really Pay Off
'The Patient' is bound by four walls and a mediocre ending that leaves you wanting more.

Shakespeare's 17th century masterpiece about the "Melancholy Dane" was given one of its best screen treatments by Soviet director Grigori Kozintsev. Kozintsev's Elsinore was a real castle in Estonia, utilized metaphorically as the "stone prison" of the mind wherein Hamlet must confine himself in order to avenge his father's death. Hamlet himself is portrayed (by Innokenti Smoktunovsky) as the sole sensitive intellectual in a world made up of debauchers and revellers. Several of Kozintsev directorial choices seem deliberately calculated to inflame the purists: Hamlet's delivers his "To be or not to be" soliloquy with his back to the camera, allowing the audience to fill in its own interpretations.
'The Patient' is bound by four walls and a mediocre ending that leaves you wanting more.
Ian and Barley embark on a quest to find a magical gem to restore their father back to life.
At its heart, it’s a fond tribute to an influential artist and thus one that can speak to everyone’s inner artist, even if it lacks the sincere commentary you may wish to see.
Having Sersi be the central force in Eternals is unprecedented in its viewpoint and focus, from demonstrating a gentle type of leadership, to being overlooked in a group setting but succeeding in the goal at hand anyways, to having romantic options, to strength and integrity, and majority screen time - for a group that's given less screentime than aliens.
Films about casinos have long been a favorite of Hollywood. This is unsurprising, as they're often tied to magnetic characters whose lives revolve around luxury, spectacle, and even danger.