…runs virtually on the same lines as the first Terminator…

Larsen confesses he has never ever seen any of the films he has funded. We of course have no such luck.

There are fewer sights as exuberant as Melissa McCarthy on a roll. And that includes her rolling. The actress is again at her swearing, fighting, kicking best here, letting it all hang out as a CIA desk person who finds herself out in the field.

…somewhere along the way, the all-too-familiar story among all-too-familiar characters loses sight of what children can do and what they probably won’t. That’s a damage the film never recovers from, as its grasp of children is the best thing going for Hamilton and Jenkin.

When snow meets hypothermia meets electricity in The Age of Adaline, it always results in miracles. One such chance encounter leaves Adaline (Lively) with the gift of never ageing. However, that’s not the problem with The Age of Adaline — not at all. For explanation for the science of it has been conveniently left for “2035”

Were Brad Pitt of World War Z to meet Brad Pitt of A Tree of Life, you could have Maggie. Almost. For, while Terence Malik hangs heavy over this film, Hobson — who was a part of Malik’s A Tree of Life — jettisons the symbolism long enough to give us a warm, working family strained by a zombie scare.

Almost entirely a copy, and with hardly any improvement over the old Poltergeist, this is a film where nothing appears new. Except for the use of 3D and a strategically used camera-mounted drone. The first is pointless, the second ridiculous.

Yes, out-of-work NASA engineers do breed daughters brimming with insatiable curiosity (Interstellar). Tomorrowland also seeks to imagine parallel universes, time-space conundrums, and ecologically worn end-of-world scenarios. However, that’s where the similarity ends. Where Interstellar is about man’s quest for answers and the price it takes, Tomorrowland is a more run-of-the-mill affair about two worlds that is least interersted in the in-betweens.

Danny Collins reveals itself right at the beginning — “Kind of based on a true story a little bit.”
They had to try, so hard. And sound like it, so hard.
For when the John Lennon (the emphasis theirs) is the fulcrum — or more precisely an actual letter written by him — you can’t be flippant about anything while still making a film about an ageing rock star who has lived flippantly.

This ridiculously glorious rebooting of the Mad Max films of late ’70s and early ’80s by the director is a celebration of a world gone feral, and women gone sublime. And that’s not all women do here, even when dressed in wisps of delicate white. They command troops, drive war rigs, ride motorcycles and wage wars, apart from being “breeders” for a dictator ruling his kingdom by depriving his people of water.