Gary Garrison

London Road, on stage and celluloid, is an experiment likely to fall flat outside of the most devoted of cinephiles (and theatergoers), but an exciting one nonetheless, even if only for its boldness.

For all the tepid pacing and uneven storytelling, though, Collins and co. do a great job of making To The Bone a watchable film. They are, by turns, charming and heartbreaking — even when they aren’t given much to do by the script.

For all the moments of visual flair and earnest fun, it’s a film so indebted to Anderson (among obvious others) that it never manages to become something of its own.

The primary reason that Along For The Ride is not the seminal film of the life of the late, great Dennis Hopper, is that the doc is, ostensibly, the story of Satya de la Manitou, Hopper’s life-long friend and right-hand man.

What The Wait really needs is more: more story, more character, and more reason to grieve with these women. Because what these women have to grieve is worthy of time and attention, yet these qualities are frustratingly absent from this film.

It knows of its B-movie roots, its tired plot and well-worn archetypes, and beneath the burden of the sorely unoriginal, it does manage to be occasionally funny, occasionally surprising, and occasionally the bloody and bombastic genre cliche it set out to be.