Typically the films I am most excited about experiencing in 4DX are the ones that promise the widest variety of effects. Sure, it is nice to have the seats move, but that is pretty a much a constant through most 4DX experiences. The additional effects like snow, rain, or fog machine only occur at key moments, making their use that much more impactful. With that being said, I was sold on seeing Ford v Ferrari in 4DX after seeing the trailer in the format, and it was able to convince me with the use of seat motion alone. Some of the other effects are used sparingly, but the primary reason for seeing this film in the immersive format of 4DX is for the experience of feeling every gear shift, acceleration, and curve in the road, through the motion of the seats.
Good Boys knows how to push the boundaries just enough to guarantee an R-rating and the possibility to offend some of the more conservative audience members, but at its core this is a carefully calculated studio film that makes sure to toe the line without ever coming close to crossing it. In other words, Good Boys likes to play at being shocking and offensive in the same way its protagonists are playing at being grown ups. It is laughable when compared to any truly edgy films. Even studio films of the past have been willing to take more risks, while the main source of edginess in Good Boys is the involvement of young actors.
Less of a documentary and more of a soundscape film in the tradition of the Quatsi trilogy, and the other films by Godfrey Reggio and Ron Fricke, Aquarela is a distinct cinematic experience. Sequences are linked thematically by spectacular high definition photography, careful editing, and a mood-inducing score. But while the Quatsi trilogy often considered the impact of human development, Aquarela remains solely interested in the terrifying power and simultaneous beauty of nature.
For everyone anxiously awaiting the next installment of the Cross superhero film franchise, Cross: Rise of the Villains, it has arrived. Now that I have addressed the parents of family members with supporting roles in the film, I can address everyone else. There is absolutely nothing redeeming about this film beyond the paychecks it provided an assortment of washed up minor celebrities. And there is nothing impressive about the film beyond its ability to attract name actors, all of which sleepwalk through their performances.