If an ominous phantom tells you not to mess with the barrier between life and death, you’d think you should listen to him.
Few images have been burned into the American consciousness like the young robbers’ violent demise in Arthur Penn’s “Bonnie and Clyde.” Bullets punch through the car into Bonnie and catch Clyde in an agonizing slow-motion free-fall, a haunting, iconic scene that looms over John Lee Hancock’s new Netflix drama, “The Highwaymen.” It’s about the Texas Rangers who riddled Bonnie and Clyde with bullets, and Hancock’s film never leaves the shadow of Penn’s 1967 take on the story.
Desplechin’s direction is as hypnotic as his story is muddled, and at least his central performers get ample opportunities to show off their range.
Garth Davis excels in ways that shouldn’t look so easy: His world is appropriately naturalistic and his story smoothly balances its emotional heft.
Much of the album sizzles with a popping energy courtesy of Garratt’s piercing falsetto and an inclination toward a style that’s constantly changing.
“Zoolander 2” could have been clever. It could have been witty, with consistently funny jokes or a compelling story. But it has none of these things, and it is ultimately a movie that is just as offensively dumb and pointlessly inane as its main characters.
Though it champions a story structure that’s been used many times before, “The Finest Hours” is a rescue story buoyed by some terrific maritime action sequences and very good acting performances.