"Waves" Goes the Wrong Direction in Racial Depiction, Despite Its Intent and Beauty
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When her little sister claims she sees the dead, Alia consults a psychic, who opens her own eyes to the vengeful ghosts haunting their childhood home.
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The idea of Rosemary's baby but with lesbian partners drew me in, and I was anticipating what the film had in store with its reimagining. Unfortunately, it all felt a little too vague to leave an impact.
From its visually stunning opening credits, which show women dancing through a forest to musical rhythms that sound almost primal, to its quiet, heartbreaking final frame, Mona Fastvold’s historical rendering of the Shaker religious movement is an experience that will stay with me for a long time.
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.
Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.
Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.