A lot of rubbish has been written about the dangerous change of pace displayed by Hugh Grant in the over-stuffed, undercooked game called. A rebel that it seems pointless to contribute much. I will simply say that you deserve a round of applause, but the question is, “What is it?” He’s a great actor who should be able to go from a charming romantic lead to a menacing, evil villain with great ease, and the monster he plays. A rebel not only is it freakish in skill but it also lacks charm, too. It seems like a natural fit. Question: is it scary? In my opinion, the answer is a big, yawning “Not really.” A quick shave with an old razor, I had more fear than anything A rebel on my bathroom mirror.
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HERETIC ★ (1/4 stars) |
Assisted by Scott Beck and Bryan Woods, the production team oversees the writing for which he is sometimes responsible B films are similar Hawt again The Boogeyman, Heretic it has been mistaken for the originator of the horror genre, but nothing new About it. Instead of panicking, A rebel presents a long and troubling ideological debate about the horror of religion versus the horror of bad movies. It can be called a whydunit instead of a whodunit. The foundation begins with a promise. Two lovely Mormon missionaries (Sophie Thatcher and Chloe East) on a mission to convert non-believers to salvation arrive at an eerie, haunted house (amidst fog, rain, and an impending blizzard, natch). The creaking door is opened by the wise, smiling Mr. Reed (Hugh Grant, turning on his usual charm), invites them in and offers them a slice of berry pie that his wife has just baked, who never shows up. But instead of pie, what Mr. What Reed offers is a challenging argument about the role of religion over the years. Whether the women are saving money or hoping to find a friendly soul mate is left to the imagination, although the dark and gloomy manse soon becomes a testament to the host’s behavior and his dangerous plans for unexpected guests, many of whom it turns out are imprisoned. cages in underground tunnels below. Before you say, “Girls in Danger of the movie she saw Psycho they should know better than to go out after dark”, the trial turns into a shouting match, and the lovable Mr. Reed turns into a verbal serial killer who accompanies each of his murders with mumbo jumbo jabberwocky that starts with creepy questions like “How are you? do you feel polygamy?”
It should come as no surprise when the girls discover that the exit doors are locked, the blueberry pie is poison, and there is no wife. As the blizzard rages outside, the girls escape to the basement where future victims await their turn to be killed. “Why did you do this?” asks one of the misguided missionaries in one of the film’s unintentional jokes. “The question,” answered Mr. Reed with a bitter insult, “why do you all allow me?” That’s the only point of the movie-there is something there is no point.
A rebel it has some moments of suspense, but nothing based on any kind of logic, leaving Hugh Grant to steer a sloppy, haphazard and pointless third act to its grand, eye-opening, lip-smackingly terrifying conclusion. He is the only reason to keep one eye on the screen and the other eye glued to the exit door. You can’t teach an old pro new tricks, and this is a character who can block a charm even if it’s directed at him, which no one else does. Even when he cuts off the victim’s hand, one finger at a time, he seems happy. Let’s hope that, since he’s proven himself capable of handling pathetic nonsense, he’ll be given a better role in the future. In the disappointing end of this greeting card A rebeleverything falls into hearts, flowers and butterflies, but only one is still alive. I won’t reveal who it is. I will only tell you that when Hugh Grant leaves the screen, it has an impact unlike saying goodbye to Casper, the Friendly Ghost.
