“While some of the editing can feel choppy and kills some of the momentum at times, you’re always pulled right back in by the stellar cast and beautiful framing of each shot. The film has, if nothing else, plenty of heart.”
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“The Rivals of Amziah King is almost worth watching to witness McConaughey’s performance. Hardcore fans of his will be delighted. However, Andrew Patterson simply does not have the skill to match his ambition.”
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“My experience with The Magic Faraway Tree was distinctly adult. I was completely charmed any time Andrew Garfield and Claire Foy were on screen. It is clear that the gregarious Garfield has been waiting for the chance to play a sweet movie dad for his entire career.”
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“Although I’ve enjoyed Mason Thames’ work in The Black Phone franchise, Nimrods is the first time I’ve truly believed in his movie star potential. He anchors this film perfectly by embodying a particularly transparent brand of teenage aggression.”
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“As laid-back as the film is, it has an eccentric edge to it that sets it apart. “
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“The film is a lot, but that also ensures it will reward subsequent rewatches. However, this is a film that will leave you thinking…It's not subtle, but it also doesn't spoon feed you easy answers to the questions it's asking.”
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The movie doesn’t constantly remind you of Bourdain’s greatness, instead asking you to see him at his worst in what’s ultimately an inspiring path to change.
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“Despite the film’s chipper cadence, it’s disheartening to watch cookie capitalism consume what should just be a fun summer hobby.”
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“Late Fame is the type of myopic dreck that fuels the general audiences stereotype of pretentious indie cinema.”
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“The Samurai and the Prisoner’s density will reward those patient enough to appreciate Kiyoshi Kurosawa’s careful, stageplay-esque approach.”
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“Brand New Day is the first live action Spider-Man film since the end of Sam Raimi’s trilogy to not take its audience for granted…It is the first MCU film in years to inspire genuine childlike glee in me.”
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“Araki visualizes I Want Your Sex with the vibrance and color he brought to Smiley Face and Nowhere. It mirrors the blissful serotonin boost that Elliot receives through playful subjugation.”
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“Motor City is a perfectly fine popcorn flick if you’re willing to overlook and be less nitpicky about its obvious issues. It has solid action, a good cast, and some pretty well done editing that brings it all together.”
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“Refn has always been one to interrogate sexuality in an uncomfortably incestuous way, with Her Private Hell angling towards anxieties of his daughter entering an unknowably artificial world of sexuality, vapidity, and violence. It’s a horror film for Refn and Refn alone; therapy by way of cinematic catharsis.”
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“‘They Fight’ picks up and drops plotlines with a speedy indifference only a director could love.”
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“Alongside Interstellar and Oppenheimer, The Odyssey is one of Nolan’s most personal films to date, and maybe his most pragmatic. A juggernaut in both scale and sentiment, The Odyssey is simply the real deal.”
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“…it gave me as good a time as a nice pickleball match: low stakes, great players.”
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“Mounia Akl and Hasan Akil share such a powerful chemistry that it’s rare a scene between them doesn’t pull at your heart. The two are a pair of incredibly thoughtful actors that bring the entire thing to life.”
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“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.”
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“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.”
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