Say what you will, the original Jeeper's Creepers films, especially the first one, were master classes in budget horror.
Everything that came after, hasn't lived up to the original. Jeepers Creepers Reborn, is, for my money, just another off the shelf, rather mediocre, knock off.
The story largely overlooks the factors that made the original film, so compellingly chilling. The slowly building tension, the gradual realisation that the pursuer is something worse than a garden house variety serial killer. In other words, the film "creeps" up on you.
This film plays more like a run of the mill slasher flick, without the jump scares. The results not frightening or even a little chilling.
I'd describe everything else as "alright", from acting, sets through to
horror effects.
In summary, this one failed to resonate with me. I do not feel it came even close, to recapturing the essence of what made the original Creeper films disturbing cult icons of horror.

**While The 355 might not have been a stand-out blockbuster of a film, it still was enjoyable.**
The 355 hit almost every line of dialogue and every typical character type you have seen in a spy movie but still found a way to entertain its audience, even if it was only slightly entertaining. The cast was stellar, and the performances were solid. Unfortunately, the 355 stumbles with a stale, unimaginative script that is incredibly predictable and keeps the peril and danger from feeling very perilous or dangerous. I didn’t finish the movie feeling I had wasted my time, but I couldn’t say I would recommend it. Jessica Chastain, Lupita Nyong’o, and the rest of the cast seemed to have fun working on this project together, and their chemistry was entertaining. Still, the trite dialogue kept all of it from being great. I wish The 355 had been trusted with a bigger budget and a more experienced director. It had enough strengths that even with all its flaws, it was a decent film, but it could have easily been a great movie.

It will be more exciting if Penélope Cruz show some spy's skill.

An all women movie, I might just love it. Specially when I think Chastain and Kruger are people I just love watching .. usually.
Some action, some tension, yeah !! But it's so fake, you'd think it's a Chinese production : globalization is so good to us.
Now, when you add a hint of a progressive agenda, it just becomes so much better .. At least it brings some kind of a content. Yeah, content here is mostly replaced by contempt.
These women are charismatic and attractive (except BingBing who's just a pain for my sorry eyes and ears) and need to stick together .. how intriguing (stick what ? not sure yet). If only we could believe these characters more then 10 minutes.
Now if you withdraw the story, it's all fine, everybody else did a good job.
An action movie written by a lazy teenager helped by his assertive mum, how come anyone followed ?

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"The 355 holds excellent performances from all people involved - especially Jessica Chastain (It: Chapter Two) and Lupita Nyong'o (Us). However, the generic screenplay, poor dialogues, and barely developed characters turn a film with much potential into another disappointment from Simon Kinberg (The New Mutants).
The action sequences actually include interesting choreography, but the use of quick cuts and shaky cam doesn't always work favorably. The narrative is loaded with the usual formulas of the respective genre, and some attempts to approach the theme of feminism efficiently fall flat.
Personally, it's saved by the fact that it was primarily filmed in real locations, helping with the entertainment levels."
Rating: C

Pretty lifeless global action-thriller where it seemed co-writer and director Simon Kinberg was attempting to emulate the Bourne franchise (the cinematography and score especially reminded me of that series).
The story is thin, predictable and really sounded familiar but can't put my finger on what (thinking Casino Royale with the short selling of stocks at least), but a thin story is fine (a few of the Mission Impossible movies didn't have the strongest plots or villains), if only the main cast had any chemistry which I didn't feel they did, despite a few of them being solid actresses.
This yet another film that filmmakers thought would be a potential franchise as it's left open ended for a sequel. I guess there was potential and maybe under a better director would've been at least an entertaining flick, but in the end I found it to be forgettable. **2.25/5**

The cast do great, just a shame the rest of 'The 355' isn't up to their level.
Jessica Chastain, Diane Kruger, Lupita Nyong'o, Penélope Cruz and Fan Bingbing all produce, all of them give enjoyable performances and never became uninteresting, irritating or whatever to me. They are the film's major plus. I'm struggling for other positives, cinematography at a push?
Unfortunately, I came away from watching feeling underwhelmed. The second half really drags, not helped by an extremely lame 'twist'. The first half isn't perfect but does hold potential, once the main bunch eventually team up it's more interesting. The editing is a little iffy, too.
There are quite a few talky scenes that aren't worthwhile at all, especially early on with Chastain and Sebastian Stan. Things improve when the action sequences get underway, not that they are anything extraordinary but what we see is satisfactory; it's the bits in between that let this 2022 release down.
6/10, despite the well performing cast; who almost made me give this 7/10.

This was not so terrible as I was expecting. The premiss sees superstar singer "Kat" (Jennifer Lopez) about to marry her boyfriend "Bastion" (Maluma) in front of twenty million folks on the telly. Snag is, he can't keep it in his pants - and when a video of him with her assistant goes viral whilst she is actually on stage preparing for these celebrity nuptials she thinks on her feet. A few rows in, the hapless maths teacher "Charlie" (Owen Wilson) has come to see this concert with his young daughter and a colleague from school who had made a "marry me" placard. She had gone to the toilet leaving him holding the card, "Kat" sees it and says yes to the proposal he didn't actually make! What now ensues revolves around the two of them getting to know each other amidst a media frenzy the likes of which the world has never seen - before an ending that can easily be seen from space. Wilson is terrible, no other word for it; but J-Lo is a class act. She plays her part for all it is worth on stage but also comes across as quite a decent human being as she tries to acclimatise to his rather more pedestrian existence. Maluma is very easy on the eye, but contributes precious little and the title song - written by eight people, apparently - is awful! I'd have thought this better for a Christmas release - it has a sort of seasonal "feel-good" sentiment to it, but aside from a very charismatic leading lady this film is one nobody (quite poss

**Marry Me relies on its strong leads to make this average rom-com worth at least one watch.**
Marry Me doesn't do anything new, but Jennifer Lopez's class and Owen Wilson's lovable everyman charm make an average rom-com a decent watch. The outlandish concept of a pop star spontaneously marrying a random fan in the crowd, feeding the media circus, and then accidentally falling in love might seem far-fetched, but in today's world not completely impossible. Marry Me tries to tell the story Notting Hill for a new audience but falls short by rushing the story and forgetting to make the romance believable. It all just happens without convincing or satisfying its audience. Lopez and Wilson's awkward escapades are still enjoyable to watch but not enjoyable enough for a second viewing.

Cute screenplay and fun performances! Wish some of its other elements were a bit stronger so I could say it was great, but it was still pretty fun. Really could’ve used a stronger sense of rhythm, both in its editing and pacing.

Owen Wilson better be careful lest he becomes the go-to for aging Latino MILFs. Last year he managed to save Bliss from Salma Hayek’s strident overacting, but he has no such luck with Jennifer Lopez in Marry Me.
Now, to be fair, the movie’s failure is not her fault, and she acquits herself a lot better than Hayek did; it also helps that Lopez is essentially playing herself – a mega popstar with a string of failed marriages. And whereas she isn’t an acting prodigy, nor is, for that matter, Maluma, who plays her temporary fiancee, they are nevertheless performers who know their way around a stage and are extremely comfortable in front of an audience.
It’s no surprise then that the only genuine moments in Marry Me take place during a sold-out show – that is, of course, until Kat Valdez (Lopez), having discovered, right before they are supposed to tie the knot in between musical numbers that Bastian (Maluma) has been unfaithful, has what can only be termed as a psychotic break and decides to pick out a random dude from the audience and marry him on the spot instead. Let’s put it like this: this plot is too outlandish even for Wilson, and he has been in several Wes Anderson films.
The reason that Charlie (Wilson) is at the concert is pretty random itself; Parker (Sarah Silverman), her friend and colleague – they are both teachers, or at least he is a math teacher that, as it often occurs in the movies, has only a handful of students in his charge; she on the other hand mostly appears to just hang around the school –, planned to attend the show with her girlfriend, but her girlfriend broke up with her, so she asks Charlie to come and bring her daughter along.
Ok, so this is the hottest show in town – sold out, as I mentioned above –, but Parker just happens to conveniently have a third ticket available; still harder to believe is that her girlfriend didn't wait until after the concert to break up with her.
Anyway, that very same night Kat is already the butt of Jimmy Fallon’s jokes on The Tonight Show – which is obviously impossible because The Tonight Show doesn’t air live; in fact, it is taped in the afternoon and broadcast hours later.
But who knows? Maybe Jimmy is clairvoyant and, having seen the whole thing coming, pre-taped a few pertinent jokes. All things considered, you know you’re in big trouble when your movie makes less overall sense than Notting Hill.

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"Marry Me is far from being a groundbreaking rom-com, but the lead actors, compelling character work, and excellent original music make for genuine entertainment.
Jennifer Lopez (Hustlers) and Owen Wilson (Loki) surprisingly share amazing chemistry, in addition to delivering absolutely fantastic performances, constantly pulling viewers back to the screen when the narrative becomes repetitive and generic. John Bradley (Game of Thrones) and Sarah Silverman (Ralph Breaks the Internet) also contribute to the light and fun environment of the film.
The balance between the life of a celebrity and the "common citizen" is quite well explored, and the vision of how much fame limits a normal life is the most interesting storyline of the entire narrative.
For fans of the genre, it's strongly recommended."
Rating: B

Nope, sorry! Didn't get the memo. This is just a mess. "Uta" is a famous singer who believes she may have the power to use song to unite the largely dysfunctional world against some marauding pirates. The world government and it's navy tries hard, but it cannot quite combat these ruthless and quirky characters - amongst whom she must count her own father "Shanks". The thing is, though, that "Uta" and her slew of unremarkable power ballads strides two dimensions and gradually we begin to worry that she is perhaps not the altruist that it appears at the start. Perhaps she has evil aspirations of her own; or is being manipulated in some way? I am a big fan of Japanese animé usually, but this is all over the place. The story is weak and nigh-on impossible to follow with the characterisations shallow and almost non-existent. The supposedly cherubic voice of the young girl got right on my nerves from very early on, and the animations (except for, perhaps, at the end when the are lively and vivid) are almost comic book page-flicked in their delivery. Of course there is an inevitability about the ending, but in this case the journey to that conclusion is a maelstrom of confusion and un-engaging plot and personalities that left me cold. Maybe I just wasn't in the mood - but I just could not get into this.

I've tuned into the first four episodes of the #ObiWanKenobiSeries on #DisneyPlus, and I have a bold claim to make - Star Wars television series are surpassing the movies in quality.
In my opinion, the movies tend to overwhelm viewers with a barrage of information, making it challenging for casual fans to grasp the characters, terminology, and overall plot.
Conversely, the television series excel at breaking down complex elements, drawing viewers in with character development and engaging storylines that facilitate a deeper understanding of the Star Wars universe.
Series like The Mandalorian and The Book of Boba Fett have been executed brilliantly, allowing audiences to connect with main and side characters on a more personal level. These shows have provided me with insights into characters like Luke and Leia, enhancing my comprehension of their backgrounds and motivations.
Overall, the Star Wars television series are enriching the lore and expanding the universe in a way that the movies sometimes struggle to achieve. Exciting times for Star Wars fans!

Men, directed by Alex Garland, is a haunting exploration of grief, trauma, and the sinister dynamics of gender, wrapped in an atmospheric and unsettling narrative.
Rory Kinnear delivers a truly epic performance, embodying multiple characters with an eerie and disturbing versatility that is nothing short of remarkable. His ability to switch between personas, each more unsettling than the last, adds a layer of dread that permeates the entire film. Kinnear’s portrayal is both chilling and mesmerising, leaving a profound impact that elevates the film’s haunting themes and invites deep reflection.
Jessie Buckley is equally superb as Harper, a woman grappling with her past while confronting an escalating series of horrors. Her performance is deeply emotional, grounding the film with a raw, visceral intensity that makes her character’s journey compelling and harrowing. Buckley’s ability to convey a wide range of emotions, from vulnerability to defiance, makes her a perfect counterpart to Kinnear’s unsettling characters.
Men is the first film in a long time to move and terrify me equally. Garland masterfully balances psychological tension with moments of sheer terror, creating an unnerving experience that is as thought-provoking as it is captivating. The film’s blend of unsettling imagery, superb performances, and a deeply unsettling atmosphere make it a standout in contemporary horror, leaving a lasting impression that is difficult to shake.

Men, directed by Alex Garland, is a movie that fails to live up to its potential despite having some redeeming qualities.
The cinematography is fantastic and haunting, with creative shots that add to the overall experience. But this quality dips towards the end, with the director focusing more on horror elements in the tune of slasher/home invasion instead of psychological. The sound design is excellent, and the sinister feel really adds to the movie's overall mood. The acting is good, but nothing too spectacular. No performances really blew me away. However, the body horror in the movie is fantastic, and it had the hair on the back of my neck standing up. Even though I do think it is not entirely needed, I have to give props in that department.
Unfortunately, the script is pretty dreadful. The message is very in your face, overly complex and did not work for me. It was quite a turn off too, as it seemed as though the director was trying to say all men were the same and were terrible human beings. I know it had deeper meaning than that, but that surface level message is undeniable. I mean honestly, every person she encounters is such a massive piece of shit, not one person would have held out a helping hand?
Something that did really bother me was that the movie starts off as a creative psychological horror, but takes a spin in the third act that divulges into body horror mixed with slasher elements, which really takes away from the intriguing first 45 minutes of the film. Combine that with dreadful pacing, which will result in the audience feeling like they're waiting for the movie to be over.
Overall, Men is a forgettable movie that had potential, but unfortunately, failed to deliver in many aspects.
Score: 40%
Verdict: Poor

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"Men is undoubtedly one of the most unique, macabre, weird, expectedly divisive films of the year.
Rob Hardy's cinematography is truly impressive, navigating viewers through eye-popping visual details with the help of mesmerizing makeup and VFX. The score by Ben Salisbury and Geoff Barrow is also quite atmospheric and haunting.
Nevertheless, Alex Garland exhaustively repeats his obvious, heavy-handed message to the point of losing all emotional connection with the underdeveloped protagonist. The last act focuses too much on excessive, unpleasant gore to prove a point over and over again unnecessarily, functioning as a distracting, underwhelming conclusion.
Jessie Buckley - extraordinary - deserves much better, as does the versatile Rory Kinnear, who plays multiple roles."
Rating: C

"Harper" (Jessie Buckley) heads off to rural Gloucestershire in England to take a break after the apparent suicide of her husband "James" (Paapa Essiedu). On arrival at the manor house she has rented for a fortnight, she is welcomed by the typical country squire type in "Geoffrey" (Rory Kinnear). She goes for a walk, during which she notices that she is being followed - and the man following her is naked. Spooked, she returns to her home to find that this is just the start of some seriously bizarre goings on in this tiny hamlet. What flaws this all from the start for me is that we see everyone in this community - the policeman, vicar, schoolboy, pub landlord as variations of the same man - Kinnear, yet the "Harper" character does not seem to clock this; she certainly doesn't acknowledge it, and that just doesn't work for me. If I were in a village where everyone looked the same, I'd have been out of there in a shot. Anyway, she lingers on for a while as things become more perilous and she is clearly the focus of the malevolent intentions of this creature - and it all builds to quite a clever feat of special effects and not a great deal else. There is a largely undeveloped underlying plot line about her on-the-rocks marriage that may have had some bearing on the conclusion, but to be honest I was rather bored by the repetition of it all by then. The exterior photography is nice enough and Buckley is competent, but Kinnear's roles are all about the skills of the make up artists. The dialogue is nothing special leaving the score to work hard to try to create a sense of peril that, in the end, I felt was just ... lacking. It's no worse than many of the recent Blumhouse efforts, but that doesn't make it very good, either.

People will hate _Men_ if they go into it wanting a straightforward story or a film that has one, clear cut meaning once those end credits crawl across the screen. _Men_ doesn’t offer either of those things. The film features stunning cinematography, a mesmerizing forest sequence, and a thrilling score that is as unsettling as it is operatic. Rory Kinnear is exquisitely chilling. This is the type of horror film that is purely, disgustingly, and gloriously nasty and ambiguous. _Men_ is simultaneously a film you shouldn’t think too much about and yet absolutely think about all the time once it’s over.
**Full review:** https://hubpages.com/entertainment/Men-2022-Review-A-Bizarre-Graphic-and-Unforgettable-Folk-Horror-Film

This is like the chef version of that dumb-ass movie where a guy keeps shouting at a drummer to make him play better.
It's what Guy Ritchie would turn in if asked to do a show on a mom-and-pop sandwich shop, but make it interesting. Not knowing how to make anything interesting other than drizzling testosterone over a bunch of murderous wise guys talking smack and getting in each other's faces, he at first didn't know what to do.
Then, he snorted 50 g of cocaine and realized, "Hey! I CAN do the same thing I always do!"
The studio execs loved it, because they were retards dealing with a retard, and they knew their audience were retards, too, and here we are.
Retarded shit for retarded pigs. It's 2024.

first episode in and i'm already hooked! most of my experience of watching this is just me forgetting to breathe for long periods of time. definitely recommend!

Not the most enjoyable of watches, it meanders a bit, though 'Crimes of the Future' is most certainly interesting throughout.
I tend to find films like this a little hit-and-miss, as I personally find the constant reaching for shock value or just simple weirdness a bit too forced. And this film does that a few times, but to be fair as the run time was ticking by I could definitely feel myself becoming more and more intrigued by events portrayed on screen.
Cast-wise, Viggo Mortensen and Léa Seydoux great together, very good acting and very good chemistry. Don McKellar (just me who sees a Jeffrey DeMunn likeness in his eyes? probably ...) and Welket Bungué are more than decent too. Kristen Stewart and Scott Speedman give solid showings as well.
A, fair to say, weird one it is, but a weird one that I just about got enough from.

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"Personally, I believe that cinematic narratives with multiple plot points and questions related to the world itself are too often confused and envisioned as character studies driven by a single protagonist.
Both Olivia Wilde and David Cronenberg complete their movies when the main character fulfills the minimum requirements of their arc, consequently renouncing all other equally significant issues worthy of in-depth exploration. In the case of Don't Worry Darling, one finishes it with an underwhelming feeling from an unsurprising conclusion, while in Crimes of the Future, viewers are left with several questions and interesting, half-developed paths about such a mesmerizing futuristic world.
Neither film explores its own world-building satisfactorily."
Rating: B+

Whilst certainly nowhere near his best, this is still quite an intriguing drama from David Cronenberg. It all centres around "Saul Tenser" (Viggo Mortensen) who uses his own body to grow (or "cook") extra organs which he and his assistant "Caprice" (Léa Seydoux) extract as part of rather gruesome, but popular, theatrical performances. Meantime, "Dotrice" (Scott Speedman) is reeling from the suffocation of his young plastic-eating son (by his own wife) and so convinces the exhibitionists that an autopsy revealing the internal digestive organs of this most unusual of mutations would make for excellent viewing. Don McKellar ("Wippet") and his colleague "Timlin" (Kristen Stewart) run the government department for organ registration and needless to say they take a dim view on the legality of some or all of these activities... or do they? The concept is interesting and ethically highly dubious but sadly the execution is a bit lacklustre and there is way too much dialogue and, oddly enough here, too little use made of the special effects that are at times quite disturbing to watch and are, no pun intended, rather at the heart of the story. Stewart's very presence suggests her character has a more significant part in the proceedings but her appearances themselves are actually quite sparing which is always a bonus for me! It does take a while to get going, and somehow the ending is all rather underwhelming but it still has enough traces of the director's unique style and imagination to make it worth a watch - once

Nonsensical incoherent movie that was hard to watch, and i turned it off after 30 min.
It clearly written with a good amount of shock value, but the only shock i got was my finger to press "off" button.
Cronenberg has made some good body horror in the past, but this was just rubbish.

See How They Run meddles through its runtime in mediocrity until the final 20 minutes (which are fantastic!). Not horrible overall, but not worth a repeat.
See How They Run lagged along for about the first hour of the movie but really picked up and entertained in the final act. Saoirse Ronan's performance brought some charm to a fairly bland film. There were hidden jokes and puns throughout that, if caught, would give you a chuckle, but overall this campy whodunit failed to amuse. While the majority of the film was disappointing, the film's climax and resolution delighted with funny drama, meta plot twists, and even a breaking of the fourth wall. I would have loved it if the rest of the movie had been as good as the ending. But it made me endure the slow first hour and fifteen minutes before I was rewarded with its clever wrap-up. I can't recommend it, but I can't say it's terrible.

Sam Rockwell and Saoirse Ronan gel really well together in this rather entertaining spoof of all thing Agatha Christie. The latter is the newbie constable "Stalker" - an enthusiastic young woman who is saddled on the experienced, gin-loving, inspector "Stoppard" when the pretty unlikeable film director "Köpernick" (Adrien Brody) is beaten to death with a sewing machine! It turns out that he had just been engaged to direct a big screen version of the legendary "Mousetrap" play that had just celebrated it's hundredth performance at London's Ambassador's Theatre. What now ensues is a really engaging whodunit with flashbacks galore as the two police officers have to learn to trust each other as well as to handle the high drama amongst a cast of thespians, an avaricious producer and, of course, a publicity seeking police Commissioner. Rockwell delivers strongly as the rather laconic and disillusioned officer (he reminded me a little of Johnny Depp's "Abberline" in "From Hell" from back in 2001) and Ronan brings plenty of amusement (and courage) to her role as his aspirational sidekick who is always jumping to conclusions. As ever with Christie stories, you just know that the perpetrator of the crime is going to be the least important character so there's not oodles of jeopardy here, but it ends well with all assembled in a creaking stately home where it all ultimately falls to the author - "Moaning Myrtle" herself - to solve her own mystery. Tom George has assembled a decent supporting cast with both Harris Dickinson quite effective as a rather effete Richard Attenborough and Ruth Wilson as the shrewd theatre producer "Petula" and they help to deliver a pace and humour that is enjoyably amiable for just over ninety minutes. I've sat in the Ivy restaurant opposite this theatre for many a year but have never actually seen the play. A bit like with this film, you mustn't disclose the ending or maybe you'll be next... Good fun!

'Bodies Bodies Bodies' surprised me a little. I didn't think early on that it was going to lead to much enjoyment, though by the time the credits rolled around I had had fun with it. The story is a good one, the twist(s) are satisfying enough. The cast are also excellent.
Everyone onscreen worked for me. Amandla Stenberg, Maria Bakalova and Rachel Sennott stick out, though Myha'la, Chase Sui Wonders, Pete Davidson and Lee Pace aren't majorly far off. Their characters, if not bad, aren't actually as great, so credit to the actors for elevating their roles.
94 minutes was the perfect run time, any longer then I think it may have dragged quite a bit. Thankfully, it didn't. This is, of course, not to state it's an absolutely perfect movie, for example it does overcome some low-quality dialogue, but in terms of entertainment I got what I wanted.

**Bodies Bodies Bodies is filled with neurotic, selfish, and annoying characters that find a way to make a killer in their midst aggravating and tiresome.**
I spent the entire runtime of Bodies Bodies Bodies wondering why this movie was so well received and highly rated. The plot doesn’t kick in until around halfway through, and the audience is left to endure young 20-somethings complaining, making out, and wondering why the world didn’t revolve around them for 45 minutes. The weak dialogue is dreadful to the point of making me wonder if any of it was actually written or just ad-libbed. Unfortunately, once the bodies start dropping, even the mystery of a vicious murderer plays the background to the self-absorbed spoiled brats whining and spilling each other’s secrets. At one point, the story attempts to shoehorn the murderer killing the victims in the order of the game, but even the characters in the movie don’t buy it. The cast does a convincing job of portraying a bunch of immature narcissists reacting to such a high-stress situation. I was so bored and disappointed until the final 3 minutes. The final twist is unique and entertaining but wasn’t worth the trash that had to be tolerated for an hour and a half to get there.

So a group of fairly unlikeable, spoiled, rich kids gather at the home of one of their number ahead of an impending hurricane. As conditions turn particularly nasty outside (think "Devil Wears Prada"), they decide to play an hybrid game of "Cleudo" meets "Ten Little Indians" that involves someone being given a piece of paper with a cross on it. That person has to "kill" one of their entirely deserving friends. Thereafter, they all reconvene to deduce who the killer is and if they get it wrong, then off they go again... Things take a turn for the worst when, infused with cocaine and booze, they start to fall out and their host "David" (the panda-impersonator Pete Davidson) strops off, the power goes down and next thing he is found quite literally bouncing off the patio doors with his throat slit. Whodunit? What now ensues is a messy, expletive-ridden character study of half a dozen women who are all too readily suspicious of each other. Two of them are lovers, with a third on the periphery of that very new relationship and another has brought her rather curious boyfriend along. The seeds are sown for a sea of discord right from the get-go. At times, the dialogue is really quite good fun, delivering quite an abrasively effective analysis of these fairly stupid and odious youngsters and playing well on their vacuousness and mistrust. All to often, though, the language becomes almost puerile. A good old dose of Anglo-Saxon can work, but when repeated as often as it is here, it loses any real potency. Indeed here, it borders on the hysterical - but not in an any way menacing manner. The acting, well that's another story. It's terrible. Quite simply, nobody here ought to worry about being troubled by any juries during awards season. That's a shame, because just a little more discerning effort on the casting front could really have lifted this, especially as the ending is really quite amusing. At times the production design offers us quite a claustrophobic environment, helped along nicely by the prevailing weather conditions - but sadly, that can't excuse the mediocrity of the talent delivering here, and I left the cinema unimpressed.