The American Dream is worth fighting for, but picking your battles may do wonders to move your pieces around the board faster than those who oppose you.
What you may need to fear most of all is fear, and what it can do to those you believe you know and trust.
Ayer makes masterful use of handheld camerawork, which adds to the gritty ultrarealism on display.
Spielberg and Hanks have done it again.
Everything works, from the wonderful soundtrack to the characters, situations and humor, and left me with no complaints.
This is a quiet, ruminating film that speaks to the human experience in some raw and somber ways, relying on two people to carry the load.
This was a ton of fun, and something I never felt the need to over-analyze, but instead just sit back and enjoy.
The final set piece borders on the absurd but in the best of ways, giving way to an absolutely beautiful final shot that will stick with me for a long time.
While this didn’t quite hit the level of Deepwater Horizon or Patriot’s Day for me, it was still a very solid effort with some great cast work and riveting suspense.
I’m not precisely sure what i just saw, but I know it was pretty damn good, in an extremely uncomfortable way.
There are no cheap thrills, just a harrowing sense of realism and relentless tension running throughout the bombing, aftermath and ensuing manhunt.
Berg delivers possibly his best film in a decade, producing something that has elements of a slow burn and a harrowing action adventure tale at the same time.
I really liked this, as Greengrass is a master of realistic tension, especially when the story is taken from a real life scenario (much as he showed in 2018 with 22 July).
This is psychological tension at its finest, slowly building steam toward an explosive finale and a final shot that borders on brilliance.
I really appreciate a quiet little thriller like this that can exist without action sequences or memorable set pieces and still be engaging.