“[Ray Gunn] probably would’ve been a cornerstone of my preteen DVD rotation had I seen it in theaters sometime between The Incredibles and Ratatouille. This veers closer in quality to Tomorrowland than those two masterpieces.”
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“Despite [Martin McDonagh’s] desire to bring the horrific actions of the CIA during this era to light, Wild Horse Nine is a sheep in wolf’s clothing. [He] is afraid to make any of these characters truly vile in our eyes.”
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“Elsinore doesn’t shy away from the tragedy and grief at the story’s core but it puts connection amongst those who are still here first.”
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“[The Face of Horror is] a delectable balm in a landscape where most stories with this aesthetic are laborious Game of Thrones spin-offs or rip-offs. It still tackles the bleak themes of sexist oppression those stories often lean on but with a lighter, less exploitive touch.”
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A lot of the vitriol for Klara and the Sun will likely be a bit more over the top than necessary…as a Sci-Fi tearjerker for the older kiddos and teenagers, it’s perfectly serviceable.
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Even though Digger doesn’t thematically gel as well as it needs to…Iñárritu is bold to address our culture’s lack of sincerity in such an elaborate manner.
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It’s a big ask for an audience to go to the theater, wait nearly an hour for the snake to slither into the frame, only for it to occasionally do more than stare down its victims.
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The Weight is desperate to convince you of its grit, but every step of this allegedly arduous journey is taken down a well-trodden path.
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“[Agnieszka] Smoczyńska intends to create a world oppressive and overstimulating enough to fill us with terror at the very possibility of its existence. The production value does not match her ambition.”
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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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“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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“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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“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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“Couture is the type of film that entirely relies on your buy-in to its’ bleak world building.”
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“‘Toy Story’ has gone from a millennial childhood staple to a life affirming saga that has cemented a unique creative voice for a second era of storytelling with this fifth entry.”
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“Blue Film is a fascinating and nonjudgmental exploration of a dynamic that seems impossible to portray with anything but venom.”
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