Griffin has now made 12 starts in the last three years combined, and it’s telling in a league starving for good quarterback play that nobody has seen fit to roll the dice on RG3. That’ll change, of course, and he’ll probably end up in some 1A/1B situation with another fringe option… kinda like last year. Steer clear.
NFL Offseason Report: Quarterbacks Read Post »
As an otherworldly antagonist, the Bye Bye Man is about as generic and uninteresting as it gets. There’s no compelling back story to uncover, no unsettling taunting or terrorizing (we don’t recall him ever uttering a single word) and no cool signature ability. On top of that, he’s saddled with some terrible looking CGI dog thing. It’s laughably bad.
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Bulletstorm walks an unusual path with its story. On the one hand it’s about revenge and righting a wrong that has been done to you. On the other, the characters spend about 90 per cent of their time busting each other’s balls. It almost feels like they had the outline of a serious story and then decided just to record the most testosterone-filled dialogue they could. It’s an odd mix.
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There’s a lot of comedic talent here and plenty of quirky roles to showcase it. Rob Corddry, who is such a vital part of Ballers’ success, is great as the salty office veteran that seems to find the downside of pretty much everything. Jillian Bell is a female pimp, and while she’s pretty much playing the same character she did in 22 Jump Street she’s still producing laughs. Karan Soni and Vanessa Bayer have good material in shorter stints.
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From a visual perspective, Silence is stunning. The countryside of Taiwan (standing in for 17th century Japan) offers all kinds of amazing views and scenery, and that beauty juxtaposed to the horrific acts being committed proves to be a powerful combination. For instance, one of the first scenes shows priests being burned with the water from hot springs. It’s simultaneously gruesome yet spectacular.
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World building is one of Rowling’s undisputed strengths, and she does a good job of setting things within the same universe as the Potter stories without leaning on them too heavily — in fact, the odd name or mention of a character are the only direct connections here. Instead, she focuses on setting the table for a new set of adventures by developing new characters and story arcs.
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Whatever post-production spin the director/producers what to put on it, Collateral Beauty is all about bombarding you with one soul-crushing moment after another. There’s the death of Smith’s daughter, which leads to him attending a support group where others talk about losing their children (the worst nightmare of any parent). It’s pure heartache, and the return of his character from the brink is so uneven and contrived it’s not even uplifting.
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