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New films this week: Dying on the Nile, Marry Me, Blacklight

After a barren January that noticed solely a handful of noteworthy new releases in film theaters, February guarantees to ship all kinds of movies. This weekend gives three numerous films to swimsuit anybody’s temper: A traditional Agatha Christie whodunit set in Egypt, a romantic comedy a couple of mismatched couple, and yet one more Liam Neeson motion image.

It may be onerous to determine what you need to spend your hard-earned {dollars} on, so Digital Developments will spherical up film evaluations from main print and on-line publications to offer you a complete essential consensus of the movies which are opening every weekend.

Dying on the Nile

Most optimistic evaluate: “Whereas serviceable as a homicide thriller, and surprisingly plain as a narrative of opulence, the movie in the end succeeds when Branagh turns the digicam away from the digital settings and infrequently faux supporting performances, and factors it at himself.” — Siddhant Adlakha, IGN

Common evaluate: “Two years after the discharge of Orient CategoricalKnives Out reinvented the all-star homicide thriller in a enjoyable and refreshing trend, and Branagh’s newest simply appears stale compared, with no new life on this Dying.” — Brian Truitt, USA Immediately

Most adverse evaluate: “…It’s onerous to imagine that the person who directed Belfast, a mildly affecting glimpse into the director’s childhood of rising up throughout The Troubles in Eire, directed Dying on the Nile. However it is rather simple to imagine that the person who directed Artemis Fowl directed this absolute misfire.” — Josh Spiegel, Slash Movie

Consensus: Whereas it has its moments, this new tackle Dying on the Nile in the end fails to entertain like its a lot superior predecessor, Homicide on the Orient Categorical.

Marry Me

Most optimistic evaluate: “[Marry Me] some of the strong romantic comedy choices in years — not simply harking back to rom-coms of yore however truly in dialog with sure gems of the style.” — Sydney Urbanek, Paste Journal

Common evaluate: “…Marry Me by no means lands on a constant tone: It’s too good to be a show-business satire and too family-friendly to be horny, even when Jennifer Lopez has by no means been extra radiantly beautiful or Owen Wilson extra scruffily interesting.” — Dana Stevens, Slate

Most adverse evaluate: “It’s a mercenary amalgam of product placements and clumsy makes an attempt at melding Instagram aesthetics with old school concepts, all wrapped up within the artificial sentimentality of a Hallmark film.” — Diego Semerene, Slant Journal

Consensus: Marry Me doesn’t reinvent the romantic comedy style, but it surely entertains largely due to its magnetic main stars, Owen Wilson and Jennifer Lopez.


Most optimistic evaluate: “[…]In the event you method it with sufficiently lowered expectations, and have fond recollections of the ’70s paranoid dramas that clearly impressed director and co-writer Mark Williams, this could be your house-brand jam.” — Joe Leydon, Selection

Common evaluate: “There’s much less motion right here than you might anticipate, usually choosing a barely extra subdued high quality, which can be commendable if any of the drama or motion have been in any respect stimulating.” — Hint Sauveur, The Austin Chronicle

Most adverse evaluate: “Take it from an professional in Liam ‘Motion Daddy’ Neeson thrillers: You’ll stroll away from the actor’s new film Blacklight with many, many, many questions. The primary one being: Can I please have my cash and 107 minutes again? No, in all probability not.” — Barry Hertz, The Globe and Mail

Consensus: Blacklight will disappoint even probably the most die-hard Liam Neeson followers, because it fails to ship even the essential thrills of a formulaic motion film.

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