Movie Reviews Only

T-Meter Title | Year
C+ 51% Old (2021) As big as this movie goes, you'd be hard-pressed to call most of the choices Shyamalan makes here good ones. For every thought-provoking idea presented, there's a creative execution behind it that leaves you asking "Why?" - Crooked Marquee EDIT
Read More | Posted Jul 23, 2021
A 97% Pig (2021) Pig is an intriguing and lovely story that may leave you wanting to call up a friend, or possibly just hug your closest pet. - Crooked Marquee EDIT
Read More | Posted Jul 16, 2021
B- 93% Fear Street Part Three: 1666 (2021) Given more room to breathe and explore, Fear Street could have been much more interesting than it is. In its current format, all three films remain enjoyable enough, but disappointing. - Crooked Marquee EDIT
Read More | Posted Jul 16, 2021
B 89% Fear Street Part Two: 1978 (2021) Fear Street Part Two: 1978 still feels like a nostalgia exercise, but at least it's willing to dig in a little harder than the previous entry. - Crooked Marquee EDIT
Read More | Posted Jul 9, 2021
C+ 81% Black Widow (2021) It suggests a bright future for Pugh's Yelena, but, ironically, does the bare minimum in finally giving Natasha Romanoff her due. - Crooked Marquee EDIT
Read More | Posted Jul 9, 2021
B- 84% Fear Street Part One: 1994 (2021) There are enough commendable elements in 1994 to warrant sticking around for Fear Street Part Two: 1978 and Fear Street Part Three: 1666 later this month to see where all this leads. However, it's hard to shake a twinge of disappointment. - Crooked Marquee EDIT
Read More | Posted Jul 2, 2021
B 60% A Dim Valley (2021) Much like its three mystical lady backpackers, this is a dreamy movie that doesn't necessarily leave a big impact, but makes a pleasant impression all the same. - Crooked Marquee EDIT
Read More | Posted Jul 2, 2021
88% Zola (2021) Even among this stacked cast, relative newcomer Paige outshines everyone, giving Zola real-world groundedness while also exuding a sense of "can you even believe this?" exasperation and discomfort. - The Pitch EDIT
Read More | Posted Jul 2, 2021
59% F9 (2021) The Fast and Furious series belongs to its own special level of cinema, one solely interested in jumping the shark. F9 takes that ethos to its highest point, while somehow simultaneously understanding that from now on it can only go further in. - The Pitch EDIT
Read More | Posted Jun 25, 2021
C 47% False Positive (2021) The idea behind False Positive -- that women don't get to control their own bodies or have their decisions respected in even their most vulnerable state -- is a good one. However, it lacks personality. - Crooked Marquee EDIT
Read More | Posted Jun 25, 2021
A- 91% Luca (2021) As far as warm-weather comfort movies go, it's hard to get one more satisfying than this. - Crooked Marquee EDIT
Read More | Posted Jun 17, 2021
C+ 92% Holler (2021) Holler doesn't do a great job of exploring the underlying causes of the culture it places us in, despite there being plenty of avenues to do that exploration. It feels like a missed opportunity. - Crooked Marquee EDIT
Read More | Posted Jun 14, 2021
A 88% Undine (2020) Undine, which takes its cues from the ancient European myth that gave us The Little Mermaid, is a platonic ideal of an arthouse film. It's understated, odd and engrossing. It seems like one kind of movie before it swerves deliciously into something else. - Crooked Marquee EDIT
Read More | Posted Jun 4, 2021
B- 74% Cruella (2021) It's worth checking out, though it's unlikely to be anyone's repeat favorite. - Crooked Marquee EDIT
Read More | Posted May 28, 2021
C 68% Army Of The Dead (2021) Instead of lean, nasty genre entertainment, it's a weighty, overly complicated two-and-a-half hour slog with occasional bright spots that serve as a reminder of the movie's squandered promise. - Crooked Marquee EDIT
Read More | Posted May 21, 2021
C 26% The Woman in the Window (2021) The Woman in the Window could have been a piece of dark pop art under the right circumstances. Instead, whether through studio meddling, a bad foundation, or a combination of both, the movie is a frantic patchwork populated by unlikable characters. - Crooked Marquee EDIT
Read More | Posted May 14, 2021
No Score Yet Below the Fold (2021) Below the Fold isn't without its limitations, but makes good use of its location and resources. Scott has clear goals for what he wants to accomplish here and takes inspiration from excellent sources in doing so. - The Pitch EDIT
Read More | Posted May 13, 2021
No Score Yet Night Drive (2021) Night Drive falls just short of great, but remains a neat, interesting character-based sci-fi story. The script is strong, and it's a smart execution of a concept that hasn't yet been done to death. - The Pitch EDIT
Read More | Posted May 13, 2021
B- 68% Monster (2019) The film does carve out a space in that it's directed toward younger viewers who can identify with Monster's 17-year-old protagonist. Stylistically, however, director Anthony Mandler lacks the focus and subtlety necessary to make the film sing. - Crooked Marquee EDIT
Read More | Posted May 10, 2021
B+ 98% The Mitchells vs. The Machines (2021) The breakneck pace might be too much for some viewers, but the reasoning behind it is sound. Its wild attitude accompanies heartwarming themes about family, parenthood, and growing up that never get overshadowed for the sake of gags. - Crooked Marquee EDIT
Read More | Posted Apr 30, 2021
B- 55% Mortal Kombat (2021) Great storytelling isn't the point. Fights are. So, how are those fights? They're fun! - Crooked Marquee EDIT
Read More | Posted Apr 23, 2021
83% The Power (2021) Despite a shaky dismount, The Power is still an effective atmospheric experience. Faith builds a world that's fascinating to spend time in, with a creepy story and characters that establish and power the movie's central conflict. - The Pitch EDIT
Read More | Posted Apr 16, 2021
69% The Blazing World (2021) The Blazing World displays an almost maddening level of talent and creativity. Here's hoping it's the start of something great. - The Pitch EDIT
Read More | Posted Apr 16, 2021
C+ 85% Jakob's Wife (2021) Crampton and Fessenden do their absolute best, but they can only be as good as the material they're given, and that material isn't up to the task. - Crooked Marquee EDIT
Read More | Posted Apr 16, 2021
C- 21% Thunder Force (2021) It's full of creaky jokes, baffling design choices, and sections that suffer from strangely poor production values. Even Melissa McCarthy and Octavia Spencer, usually excellent performers, feel off their game in roles that should be fun. - Crooked Marquee EDIT
Read More | Posted Apr 9, 2021
C- 75% Godzilla vs. Kong (2021) Godzilla vs. Kong is two separate movies, smashed together to create the feeling of one. It never coheres, and is so overloaded with characters and exposition that nothing connects either. - Crooked Marquee EDIT
Read More | Posted Apr 2, 2021
B 97% Shiva Baby (2021) It's effective, but starts to feel a little too cyclical after a while. Still, Seligman squeezes a lot of relatable comedy and character out of a simple premise, and it winds up being a brilliantly economical decision. - Crooked Marquee EDIT
Read More | Posted Apr 2, 2021
95% The Sparks Brothers (2021) With The Sparks Brothers, Wright gives a great band the glowing recognition they've long deserved. There were times watching the film when I got a little emotional that someone as influential as Wright loved the band enough to make a film about them. - The Pitch EDIT
Read More | Posted Mar 26, 2021
82% The Spine of Night (2021) This is hard fantasy, made by people who clearly know and love the form. - RogerEbert.com EDIT
Read More | Posted Mar 22, 2021
96% Alien on Stage (2020) Alien On Stage is made by people who are deeply familiar with the production and the people behind it, and the film lacks some context that might help larger audiences forge a stronger connection. - RogerEbert.com EDIT
Read More | Posted Mar 22, 2021
91% Delia Derbyshire: The Myths and Legendary Tapes (2020) Catz does her utmost to give an overlooked female genius her due. - RogerEbert.com EDIT
Read More | Posted Mar 22, 2021
59% Witch Hunt (2021) There's an allegory here for patriarchal fear of female power, but that potential gets lost amid inconsistency and appropriation. - RogerEbert.com EDIT
Read More | Posted Mar 20, 2021
62% Paul Dood's Deadly Lunch Break (2021) Gillespie's understated style -- reminiscent of Sightseers and Down Terrace -- creates a sense of anarchy that doesn't mesh well with the situations it depicts. - RogerEbert.com EDIT
Read More | Posted Mar 20, 2021
86% The Feast (2021) Not everyone may have the patience for The Feast, but those who do will be rewarded with intelligence and grand guignol in equal measure. - RogerEbert.com EDIT
Read More | Posted Mar 20, 2021
76% Potato Dreams of America (2021) The story behind the film is engaging and worthy, but in overall execution, it feels uneven. - RogerEbert.com EDIT
Read More | Posted Mar 20, 2021
92% Executive Order (2020) Ramos' film has strong potential, but lacks a consistent vision. - RogerEbert.com EDIT
Read More | Posted Mar 20, 2021
78% Kid Candidate (2021) Both an endearing character study of Pedigo and a well-informed examination of municipal politics. - RogerEbert.com EDIT
Read More | Posted Mar 20, 2021
B 69% Happily (2021) Happily builds and builds, then fizzles out right when it should explode. This is particularly frustrating given that the rest of Happily is so good, and boasts an endlessly entertaining ensemble. - Crooked Marquee EDIT
Read More | Posted Mar 19, 2021
B- 51% Yes Day (2021) Kids will enjoy the sense of empowerment and anarchy, and parents will appreciate that the anarchy is tempered with some modest lessons on responsibility and equal partnership when it comes to child-wrangling. - Crooked Marquee EDIT
Read More | Posted Mar 12, 2021
A 94% Raya and the Last Dragon (2021) Raya and the Last Dragon is full of fun action, humor, and creativity that's unlike anything Disney has produced up until now. - Crooked Marquee EDIT
Read More | Posted Mar 5, 2021
A- 98% Minari (2020) The film feels like an emotionally true record of a highly specific experience, one that contains several universal experiences and conflicts within it. - Crooked Marquee EDIT
Read More | Posted Feb 26, 2021
B 78% I Care a Lot (2021) Sharp and fun, and delivers exactly what you'd want it to, even if its overall arc sometimes feels predictable. - Crooked Marquee EDIT
Read More | Posted Feb 19, 2021
A- 80% Barb & Star Go to Vista Del Mar (2021) A tropical blue beacon of absurd joy that has nothing profound to say, and is all the better for it. - Crooked Marquee EDIT
Read More | Posted Feb 12, 2021
C- 28% Bliss (2021) Bliss points at some high-minded intellectual ideas, but can't seem to organize them in a way that creates a compelling arc for its protagonist, or the characters surrounding him. - Crooked Marquee EDIT
Read More | Posted Feb 5, 2021
C+ 73% Palmer (2021) It's not a cynical film, which is important, given the subject matter. However, it's not a terribly creative one either. - Crooked Marquee EDIT
Read More | Posted Jan 29, 2021
B 91% The White Tiger (2020) The knifelike story gets a little dull, but its ending still manages to sting. - Crooked Marquee EDIT
Read More | Posted Jan 22, 2021
A- 88% News of the World (2020) It's straightforward, down-the-middle fare. In Greengrass and Hanks' capable hands, however, it's well-executed, hitting aesthetic hallmarks and effective story beats from the first shot to the last. - Crooked Marquee EDIT
Read More | Posted Jan 15, 2021
C- 75% Pieces of a Woman (2020) It's frustratingly easy to see an effective movie in Pieces of a Woman. Unfortunately, it's bogged down by a prestige-y pretension that aims for greatness, yet uses all the wrong metrics of how successful art actually works. - Crooked Marquee EDIT
Read More | Posted Jan 7, 2021
90% Promising Young Woman (2020) Promising Young Woman is both razor-sharp and wonderfully campy. It's defined by bright Southern California light and candy-colored visuals, an acidic edge made all the more off-kilter by the darkness at its core. - The Pitch EDIT
Read More | Posted Dec 28, 2020
A- 95% Soul (2020) Soul feels like a defiant anomaly, an actual risk that demands to be taken seriously. It may not be perfect, but it suggests a creative future for Pixar that hopefully heralds more fascinating results. - Crooked Marquee EDIT
Read More | Posted Dec 22, 2020