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As it gets started, Uncut Gems has the feel of a concentrated earlier Guy Ritchie crime thriller with less comedy and a more piercing score. The film maintains that velocity brilliantly up until the third act when its climax deals a few sobering wallops and the proverbial chips fall where they may. What a ride.
I thought I was watching one of Hulu's campier installments of the Into the Dark anthology. Ready or Not is too sloppy and juvenile to stand out among the recent influx of low brow last man standing thrillers.
More cathartic than entertaining, Honey Boy is an affecting glimpse into dysfunctional child stardom.
Fans of the franchise seeking closure for Jesse, rejoice! Fans who preferred that his ending remain ambiguous should still find satisfaction from Gilligan's signature craft which elevates this TV show epilogue into the highest league of neo-western film.
The screenplay has the store-bought quality of your average whodunit and Craig's Blanc is nothing more than Branagh's Poirot dipped in molasses. Still, Knives Out manages to find its stride by not taking itself too seriously while staying grounded when it matters. Not since Clue has a murder mystery been this fun.
A gripping and inventive social satire that should be on every moviegoer's watch list.
Good Boys conflates innocence and humor to a fault.
Cheap, contrived, and at times, cringe-worthy. This faux coming of age comedy lacks the heart of Superbad and the entertainment value of Mean Girls. Moreover, it proves just how lazy American comedy writing can be.
My indifference to Eggers's style is a matter of personal taste. That said, it's an absolute shame that Dafoe's performance will surely be overlooked for Best Actor as he almost single-handedly legitimizes the film.
A successful origin story for Gotham City's most infamous maniac. In a time when comic book movies are shot out of Hollywood like a Pez dispenser it's at least entertaining to have a few antiheroes in the rotation. The knee-jerk accusations of the film either romanticizing nihilism or demonizing mental illness will age like milk.
Hail Satan? is a worthwhile documentary that will unfortunately only be praised by those who didn't have a problem with its message to begin with.
To its credit, High Life eschews hackneyed science fiction tropes in exchange for a more grounded tale of desperation in outer space. Once you strip away the veneer of realism you begin to see the plot for what it is: a mad scientist on a spaceship with unlikely test subjects who fall victim to her bizarre experiment that has nothing to do with their mission. Denis would've been better off focusing on black holes instead of sexual frustration and existentialism; this film is just too many subplots loosely tied together.
Not sure what Jarmusch was going for here, but an ensemble cast couldn't save this paltry screenplay from feeling like a disjointed dream sequence that you forget about immediately after waking up.
Peele's commentary somehow feels more like a convenient afterthought than an introspective glance towards society this time around, but that in no way detracts from his prowess as a director. Us is an eerie thrill ride that manages to tickle like a feather before delivering each blow.
Neither scary nor telling, this film will undeservedly coast off nostalgia.
Midsommar is an excruciatingly slow burn that melds relatable mental illness with disturbing pagan rituals. The vicarious discomfort you'll experience throughout the film is the clever gauge Ari Aster uses to determine how horrifying reality can be. Beware the hollow accusations of this one being an over-hyped misstep; it's the folk horror that fans have been craving.
Another justly macabre adaptation of King's work punctuated by corny jokes and soppy affection, Chapter Two serves an an adequate sequel but a tiresome stand alone film.