“Blue Film is a fascinating and nonjudgmental exploration of a dynamic that seems impossible to portray with anything but venom.”
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“The Death of Robin Hood starts and ends at the deconstruction of the character, which is more conceptually interesting than it is in the final product.”
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“The ensuing spectacle is an equally paranoid and optimistic ride that is both fueled and hindered by Spielberg’s aging sensibility.”
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“‘Scary Movie’ is neither funny nor clever... I don’t think I want White Chicks 2 anymore.”
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“Carolina Caroline is delightfully old school in many aspects but at heart, it’s true thrills simply come from watching Weaving and Gallner take each other in.”
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“If Travolta wanted to spin boyhood tales for the rest of his career, I would welcome it. It’s immensely respectable to see an industry legend make a directorial debut at seventy two that is completely uncompromising in its vision.”
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“Where ‘Tuner’ really shines is in its editing, sporting many great montages that keep the pace as tight as possible.”
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‘It’s dread, it’s anticipation, it’s curiosity. It’s a frozen, unblinking, “What do I do?’”
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“In true contemporary Star Wars fashion, ‘The Mandalorian and Grogu’ is brazenly afraid of trying new things to its detriment…the great enshittification of the galaxy far, far away shows no sign of slowing down.”
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“…this is one of the best concert films of the decade so far.“
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“Even though Over Your Dead Body feels somewhat afraid to truly reckon with its’ central couple’s toxic relationship, it is still wildly entertaining to watch them hash it out.”
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“From the casting of Jackson’s nephew, Jaafar Jackson, in the leading role to the involvement of Jackson’s own Optimum Productions, the pungent smell of vertical integration wafts throughout Michael. “
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“Faces of Death, like all remakes and reimaginings, is not immune to derivation, but it is always improving, even when iterating.”
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“Sometimes network TV episodes escape containment and become substandard action flicks like Fuze.”
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“The Christophers is effortlessly crafted.”
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“Mile End Kicks may not feature the most layered people in the world but that fact in itself captures 2011 culture vividly.”
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“Lee Cronin’s The Mummy is less scary than it is mildly grotesque, resulting in what is—ironically—a haplessly gutless affair.”
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“It is all for sure quite fairytale-esque…”
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“…Margo’s Got Money Troubles wants you to “sink into the narrative like a hot bath,” but what it actually delivers is something far more lukewarm.”
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“It is a myth spun so perfectly, so beautifully, one could not help but be swept up by it.”
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