Arts & Culture

Fresh ideas are rare in the horror game, so it’s not surprising that Truth or Dare quickly devolves into a riff on the Final Destination films, which had Death wittily and methodically hunting those it failed to nab in plane crashes and other disasters

… This is a movie where everyone in Johnson’s radius accuses his character of hating humanity, when the actor himself can’t help ingratiating himself to everything …

The film — which is nowhere near as interesting as LaBeouf’s performance — is hopelessly reductive about its subjects’ psychology even as it mocks the press of 1980 for being reductive about its subjects’ psychology

Brad Anderson’s talky-smartish thriller Beirut, like the first half of Million Dollar Arm, sets Hamm’s sharpie loose in a country — in this case a fractious Lebanon — where the rules aren’t his

The mode is comic frustration, the story centered on a reasonable man (played by Armie Hammer) frustrated at the eccentricities of a wild-haired genius (Geoffrey Rush, as the painter Alberto Giacometti)

Working from a novel by Willy Vlautin, Haigh has committed himself to making a boy-and-his-horse movie that’s scraped free of everything false or sentimental about the genre