Soul is another complex, cosmic effort from Pixar, and a quietly joyous send-off to a relentlessly bleak year. It makes a certain sense to end 2020,…
Wonder Woman 1984 is bloated at 151 minutes, but the chemistry of its leads and throwback hokey vibes are enough to recommend its particular superhero pleasures.…
News of the World is a film of dangerously naïve messaging, erratic pacing, limited stakes, and little formal or technical craft to otherwise distract from…
Monster Hunter suggests that Paul W.S. Anderson has exhausted his bag of tricks and is soullessly recycling familiar fare to diminishing results. The lore of Monster…
Greenland does well to focus on its human center rather than CGI spectacle, but its pleasures remain mostly minor. The disaster film is a genre as…
All My Life adopts the familiar form of any number of tragic romances without building any depth into its vision. Jessica Rothe is undoubtedly one of…
Superintelligence undermines its innocuous silliness and any potential rom-com aspirations with needlessly complicated stakes and a fixation on its own high concept. There’s a genuinely charming…
Freaky is a playful and genuinely funny ’90s slasher revamp that boasts both surprising commentary and appropriately gnarly kill thrills. There’s a lot to like about…
May the Devil Take You Too is a Raimi-esque bloodbath, gore-fest, and goop-show that understands how to set up and execute its thrillingly gnarly set pieces. …
The Craft: Legacy certainly has its heart in the right place, but the effort ultimately amounts to little more than superficial virtue signaling. The easiest observation…
Put simply, there’s a reason The War with Grandpa sat on the shelf for three years. Originally slated for release way back in ye olden times of…
Honest Thief is a lazy, cheap, and deeply stupid entry in the Liam Neeson crime cinema oeuvre. With Honest Thief we have yet another entry in…
Antebellum is a vapid, one-gimmick flick that plays like a politically impotent episode of Black Mirror. There’s still plenty of debate over cinematic depictions of slavery specifically…
Mulan fails as action spectacle and lazily cribs from the vast cinematic legacy it so loosely approximates. After such massive financial successes as Beauty and the…
For all of Tenet’s ostensible narrative novelty and talk of the future, it is, in the end, a dismayingly familiar experience. It makes some degree…
Face the Music doesn’t possess the rambunctious energy of its predecessors, but is hopeful and good-natured in a way too few comedies achieve these days. Just…
Peninsula is admittedly better than most recent zombie fare, but is reflective of an overall cinematic failure to innovate the genre. The zombie film is, at…
To understand the ostensible intent of Jon Stewart’s latest film, Irresistible, it’s best to begin at the end: “Money lived happily ever after…reveling in its…
Judd Apatow has built and padded his filmography on a basic principle: construct vehicles for comic actors in the early days of their ascending stardom…
After a six month delay resulting from various media outlets labelling the film, sight unseen, as “dangerous Liberal propaganda,” Craig Zobel’s horror-comedy The Hunt finally…