“When I walked out of the film — tears dried on my cheeks from laughter and, well, you know… farewells aren’t easy — the theater halls were echoing with Jeff Buckley’s rendition of “Hallelujah,” and I was struck by the incredulity of this final Jackass.”

“Some will accuse it of chasing the trite trend of “horror movies about grief and trauma” and that is somewhat true, but instead of supplementing that with esoteric arthouse scares, it smashes a classic horror franchise into one of those stories to create a thrilling combination that feels fresh.”

“In some sense, Kail’s Moana is more parody than adaptation. It’s a film aware that it’s based on a comparatively new and beloved property. This awareness is problematic.”

“…despite how male-dominated the mines were…the miner’s labor movement in Harlan County was driven by women. ‘Harlan County USA’, helmed, produced, shot, and edited by women, naturally reflects this femininity. Without overcompensation or hyperbole, Kopple spotlights the Kentucky women who served as both the backbone and frontline of the labor movement.”

“[The Fast & the Furious] layered all the characters and their interpersonal conflicts well enough for the viewer to still care about the characters and not just the cars; it’s not about the cars, it’s about who’s behind the wheel.”

“Enola looks at the camera so often that it serves as a complete distraction to the story, which is otherwise borderline functional.”

“In a way, Minions & Monsters shares an end goal with Criterion’s addition of K-Pop Demon Hunters to the collection: creating gateways for the next generation’s cinephiles.”

“ The near-overwrought Sundance-y vibe—35mm photography and all—works to The Invite’s strong though seldom cozy sense of intimacy.”

“Couture is the type of film that entirely relies on your buy-in to its’ bleak world building.”