Request: please be extra careful in the comments not to give away that one surprise thing where people might see it by accident.SPLIT is M. Night Shyamalan’s odd little thriller about three teenage girls abducted from a parking lot and kept locked in a room by a man calling himself Dennis (James McAvoy). Terror turns to confusion when he starts coming to the room talking different, acting different, claiming to be different people. It turns out Dennis is just one of 23 personalities in this guy, and they don’t all necessarily support what he’s doing.
Logically you assume this kidnapper is gonna be a rapist or killer, and these may be true, but for now he’s being told to cool it by “Patricia,” a female personality who shows up occasionally to make the girls mayo sandwiches and assure them “he’s not supposed to touch you.” Oh, okay, that’s comforting. He also shows up as “Hedwig,” an 11 year old boy who likes to dance and listen to Kanye West and giggles a little when he warns them that “The Beast” is coming.
I haven’t always been on board for McAvoy (WANTED, VICTOR FRANKENSTEIN, X-MEN FIRST CLASS), who’s obviously a good actor but seems weirdly prone to playing heroes who are a little too douchey to completely root for. But here he’s truly great. Each character has a different voice, accent and body language – you can recognize them even before he speaks, even if he doesn’t change his clothes. (Though he usually does. He seems to be very fast at it.) McAvoy is clearly having alot of fun with this, taking his acting skills and doing a bunch of donuts and wheelies and shit. Going off jumps.
(read the rest of this shit…)
CABO BLANCO, or CABOBLANCO, or “Caboblanco – where legends are born…” as it actually says onscreen, is a 1980 kind-of-remake of 
TRAITORS is the story of Malika (Chaimae Ben Acha), a young Moroccan woman who fronts an all-female punk band called Traitors (no ‘The’). In the opening scene we see her looking like Joan Jett as they practice their song “I’m So Bored With Morocco.” Like any other nationality’s punk music she’s complaining about asshole cops beating and murdering people, the empty promises of politicians, living in poverty while part of the country is rich. But also roadblocks, having your papers checked, a General’s son getting away with running over a farmer.
“Do I look disenchanted to you?”
You guys know about this CASABLANCA? 1942, hill of beans, they don’t really say “Play it again, Sam,” etc.? Yeah, well, until recently I’d never seen it. And that’s always intimidating, trying out an iconic classic way after the fact. You don’t want to find yourself very respectfully 
RESIDENT EVIL: THE FINAL CHAPTER is a partly satisfying, partly frustrating ending to the epic billion-dollar-grossing sextology that people all around the world have been following for 15 years and that I have been following for about a month.
Paul W.S. Anderson stays in the director’s chair for the fifth one, RESIDENT EVIL: RETRIBUTION. This one starts at the end of the action scene that starts right where AFTERLIFE left off. Then it shows us that scene in reverse, then regular, and narrator Alice (Milla Jovovich, 
RESIDENT EVIL: AFTERLIFE is part 4. Series writer-producer Paul W.S. Anderson returns as director for the first time since part 1. I really like how each chapter seems to be completely different from the previous ones, and this is no exception. The new style may be in part because Anderson hadn’t directed a RESIDENT EVIL in eight years (having only directed 
RESIDENT EVIL: EXTINCTION is part 3. It takes place five years after part 2, APOCALYPSE, and was released five years after the first film in the series. It has a different style and tone, a little more serious, a little more grounded, but still pulpy, and it really works.
RESIDENT EVIL: APOCALPYSE is the second one. Part 1’s Paul W.S. Anderson scripted it, but handed directing duties over to Alexander Witt (the second unit director for 
