“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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“A DC body horror film conceived by Flanagan could have been generational for both comic book and horror fans, but its execution and the departure of Flanagan turned his brilliant idea into an uneven mess.”
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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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It really is heartbreaking that this film is written as poorly as it is, as in the age of seemingly more and more art being created by artificial intelligence, this film can at times be a wonderful reminder of what humans are capable of.
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It turns out that parenting is not easy. Moreover, becoming a parent to your own parents is not easy. This hardship was a common theme at this year’s Vancouver International Film Festival.
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“While it does have its moments in some well put together fight scenes and occasional character moments, it constantly feels bogged down by a lack of stakes and some questionable one-liner jokes.”
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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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“…however much you think you might know about Holmes’ legal situation or Fielder’s style cannot prepare you for the sheer magnitude of You Can See Everything.”
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“Amazomania leaves us grappling with difficult questions about the ethics of making contact with uncontacted peoples, and the responsibility that comes with documenting their lives.”
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“Every shot seems so meticulously planned and the vibrancy of color in the world constantly comes through and just floors you.”
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“There’s nothing to extrapolate from The Social Reckoning that you either don’t already know or can’t find on a Wikipedia page, leaving me wondering what the point of this whole affair was.”
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“…for those who deeply appreciate the craftsmanship of great editing, production design, score, etc. there is a lot to love in Primetime.”
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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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While The Last Photograph attempts to be an intimate, grounded thriller about vengeance and redemption, its narrative emptiness leaves it dead on arrival.
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“I understand that three-plus hours of dense thematic conversations may be a hard sell for some, but after all, patience is a virtue, and one that All of A Sudden rewards its audience for in spades.”
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“Clunky as the effects are, when Hope moves, it moves. If you can overlook the visual effects, Hope’s action is rapturous to behold.”
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“Doubtful as I am about Onslaught entering the “best of the year” conversation, there’s definite rewatchability to the film that I intend to tap into.”
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“With about thirty years' worth of context in mind, one would hope that a film with such metatextual baggage would justify its many years in development hell. Color me pleased to report that it’s even better than expected.”
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