Amsterdam is an unredeemable, punchline-less comedy that shamelessly spews the most sickeningly neoliberal messaging of 2022. The given motto of David O. Russell’s last three credited…
Bros is a would be rom-com lacking in comedy, chemistry, and untroubled rhetoric on gay culture. First off, the good news: director/co-writer Nicholas Stoller’s Bros is…
Don’t Worry Darling fails to deliver even as much intrigue as its publicity tour, its shallow, ridiculous script resulting in a film that lands with…
The Woman King flattens its feminist appeal into Disney-fied girlboss energy and executes what’s left of its vision in both conventional and calculated ways. What’s one…
Clerks III is a fans-only venture that’s sunk by a childishness devoid of wonder and poignant moments consistently undermined by self-mockery. In Arthur Penn’s 1967 Bonnie…
Brahmāstra Part One: Shiva is a soulless mega-franchise starter that does very little of interest with its massive budget. Chances are, you already know what…
Pinocchio is a fascinating late-period work from Zemeckis, one that takes in the full scope of his career as he wills us to believe in the…
Honk For Jesus’ plot is unevenly distributed and its tone a bit imbalanced, but it ultimately lands as a solid sendup of toxic church culture sold…
Beast is a sturdy, no-frills thriller that understands how to shred nerves and deliver gnarly creature-feature action. The B-movie creature feature comes roaring back with…
Super Hero is an impressive step forward in animation for the franchise, even as its constant winking can sometimes come off as an insecure plea for…
Easter Sunday is bad enough to make spending time with extended family start to seem appealing. A major studio releasing a film entitled Easter Sunday in…
Bullet Train is an wholesale derailment, an inane, ’90s-styled crime caper built on comedy that isn’t funny and action that’s plagued by godawful execution. Early…
The Gray Man is an unforgivably bland and phoned-in actioner defined by digital smearing and toothless character work. It’s a little disingenuous to describe a $200…
Nope is undeniably ambitious and cribs from the best, but its determined obliqueness and prioritizing of subtext over genre thrills make for a rather sluggish affair.…
Where the Crawdads Sing is a soggy, laughably self-serious mess that isn’t able to calibrate its particular wavelength of melodrama. Based on the wildly popular 2018…
The Rise of Gru is gorgeously animated and has fun with its ’70s setting, but there’s a clear vein of laziness that keeps it from…
Thor: Love and Thunder is a film that has TV series written all over it, and is but the latest MCU entry to land with…
Incantation is found footage horror that does little to add fresh twists to a stale formula, instead relying on a non-stop barrage of tired genre…
Baz Luhrmann’s Elvis delivers what’s expected: thrillingly pure exhibitionism for its own sake, the kind of massively scaled contemporary blockbuster in too short supply in…
No one is going to mistake Lightyear for a return to form for Pixar, but its littered small pleasures make for an inoffensive animated space yarn.…