Capsule reviews for Oct. 3
Annabelle
This prequel to The Conjuring proves itself more of a quick cash grab than a narrative necessity. It follows the titular doll from the first film, given to an expectant mother (Annabelle Wallis) from her husband (Ward Horton) during the 1960s. But the doll brings more pain than pleasure, starting with the arrival of a group of satanic cult members at the couple’s house. From there, it’s mostly a compendium of cliches more concerned with cheap thrills than consistent suspense. There are some moderate frights, but the presence of the doll was creepier in spurts in this film’s predecessor than it is as a dramatic centerpiece. (Rated R, 98 minutes).
A Good Marriage
Stephen King doesn’t do himself any favors with the curiously tedious screenplay he adapted from his novella into this low-budget domestic thriller. It follows Darcy (Joan Allen), whose blissful relationship of 25 years is thrown into turmoil when she discovers a sinister secret about her husband (Anthony LaPaglia) that causes shock, distrust, and eventually, reluctant acceptance. But while the concept has potential, the execution by director Peter Asking (Company Man) lacks consistent suspense and relies too often on genre cliches instead of the clever twists that such material usually commands. Fine performances and flashes of King’s witty dialogue become sacrificed in the process. (Rated R, 102 minutes).
The Hero of Color City
It’s an animated movie about anthropomorphic crayons, for crying out loud, so the target demographic won’t care about reviews, and especially those containing the word “anthropomorphic.” But it’s also difficult to see small children getting too fired up for this story of a crayon box that comes alive at night, leading to a magical story of courage and teamwork to save both their colorful friends and human owners from a monster who lives in an unfinished picture. Despite its promising voice cast, the cheap-looking visuals and a script that rips off Toy Story and other predecessors might at best provide desperate parents with an electronic babysitter. (Rated G, 77 minutes).
Left Behind
The second time isn’t a charm with this latest big-screen adaptation of the controversial series of Christian novels depicting a modern-day Rapture. Taking a more conventional thriller approach than its horrendous predecessor, the film follows a commercial airline pilot (Nicolas Cage) whose estranged daughter (Cassi Thomson) is on the ground when millions of people mysterious vanish worldwide, prompting speculation about the end of days. Meanwhile, a journalist (Chad Michael Murray) tries to calm the passengers as Steele frantically searches for a place to land. The heavy-handed sermonizing tends to compromise most of the suspense, and the overwrought climax is both ridiculous and unintentionally hilarious. (Rated PG-13, 110 minutes).
The Liberator
The recent biopic trend involving Latin American revolutionaries doesn’t gain much steam with this ambitious but muddled portrait of Simon Bolivar (Edgar Ramirez), who led numerous battles to help free South American people from oppressive colonial Spanish rule during the early 19th century, drawing allies and enemies throughout the world. The film shines a deserving spotlight on Bolivar, and boasts a charismatic lead performance by Ramirez (The Bourne Ultimatum). Yet while there are some nice visual flourishes and some potent war sequences, the film feels choppy in its historical interpretation and emphasizes the glossier aspects of its story instead of providing sociopolitical context and substance. (Rated R, 118 minutes).