Toby Jones

Ever since Wayward Pines was announced as an M. Night Shyamalan project, the threat of the twist ending is one that’s hung over the entire series. For better or worse, Shyamalan’s name is associated with stories that try to come out of left field in the apex of the third act and surprise you with the idea that nothing you’ve witnessed is what it seems, ends that enjoy their trickiness so much it keeps them blind to the fact that they don’t bear up under scrutiny. And given the early ads for the show, which were heavy on that symbolism—as well as too heavy on imagery and quotes that invited unflattering Twin Peaks comparisons—it was hard to dissuade yourself of that expectation going in.

Ever since the true nature of Wayward Pines was revealed back in “The Truth,” the idea of sacrifice has hung over the bulk of the show. In order to save humanity, Pilcher, Pam, Megan, and every member of the support team had to give up their lives as they knew them. In doing so, they gave themselves the authority to force the sacrifices of countless other individuals, those they deemed necessary to ensure humanity’s future.

One of the most interesting things about Wayward Pines—and one of the reasons why it’s been so successful as a summer potboiler show—is the way that it’s a series where the central conflict is constantly in motion.

After the events of “The Truth,” it’s understandable that the next installment of Wayward Pines would feel like the series was coming back down to earth.

Based on a bestselling novel by Ron Rash, Serena, as brought to the screen by director Susanne Bier and screenwriter Christopher Kyle, feels like a husk of an adaptation even to one completely unfamiliar with the source material. It’s the sort of film that, at least in the form prepped for theatrical release, makes one inclined to believe its makers have completely lost the ability to tell a story. And it’s not like that ever seems like a deliberate stylistic choice, with Bier actually focusing on some thematic flourish off on the sidelines. Serena is always focused on its plot. Its perpetually rushed, choppily told, borderline confusing plot.

With I Am Legend and Constantine in his filmography, two not entirely successful features but both ones with impressive sequences here and there, director Francis Lawrence would seem an adequate fit for a populist sci-fi or fantasy franchise instalment.

The professional relationship between filmmaker Frank Darabont and author Stephen King is perhaps one of the most notable collaborations in modern cinema, a tale of hero worship turned ostensible business partnership. So many ships it’s a wonder none of the films produced as a result were ever set at sea.

Berberian Sound Studio Written and directed by Peter Strickland UK, 2012 Berberian Sound Studio is an unusual thriller with a very striking atmosphere. Set amidst the production of a 1970s Italian horror production, it is definitely informed stylistically by giallo films, but also bears strong resemblances to David Lynch, early Roman Polanski and certain efforts …

Berberian Sound Studio Written and directed by Peter Strickland UK, 2012 Berberian Sound Studio is an unusual thriller with a very striking atmosphere. Set amidst the production of a 1970s Italian horror production, it is definitely informed stylistically by giallo films, but also bears strong resemblances to David Lynch, early Roman Polanski and certain efforts …

Snow White and the Huntsman Written by Evan Daugherty, John Lee Hancock and Hossein Amini Directed by Rupert Sanders USA, 2012 The more – pardon the pun – grim of 2012’s two adaptations of the Grimm brothers’ classic tale isn’t quite as dark a revisionist reworking of the Snow White story as some in other …

The Hunger Games Written for the screen by Suzanne Collins, Gary Ross and Billy Ray Directed by Gary Ross USA, 2012 In the dystopian, totalitarian nation of Panem, a wealthy capital city rules over an impoverished nation of districts. As penance for a previous rebellion, every year sees each district forced to enter two adolescents …

My Week with Marilyn Written by Adrian Hodges Directed by Simon Curtis UK/USA, 2011 My Week with Marilyn’s key strength, and obvious biggest point of interest for most viewers, is Michelle Williams’ turn as Monroe. Williams excels at portraying various facets of Monroe’s star image omnipresent in pop culture, but the quality of the performance …