Author Archives: Drew McWeeny

“Only the Brave” Review: Tragic Firefighter Tale Is a Fitting Tribute to Real-Life Heroes

Only the Brave Review“This is Joseph Kosinski’s most successful film to date, and I would not have guessed that he had this in him. It also features some of the most open-hearted and vulnerable work I’ve ever seen Josh Brolin do,” writes Drew McWeeny.

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HAPPY DEATH DAY Review: Christopher Landon Creates Fun But Formulaic Horror

“Confident and cleanly-told, “Happy Death Day” is exactly the “Groundhog Day” meets “Friday the 13th” mash-up that the trailers promise. There’s nothing more to it than that though,” writes Drew McWeeny.

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“The Florida Project” Review: Sean Baker Continues to Find Success Giving a Voice to a World Little-Seen

“I know this is a movie, and that Moonee and Halley aren’t real, but in creating them, Sean Baker has captured something deeply true, and these images are spilling over with life, unruly and hard to categorize from one moment to the next,” writes Drew McWeeny.

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“Blade Runner 2049” Review: Denis Villeneuve Balances Reverence and Innovation in Worthy Sequel That Adds to Original’s Legacy

Blade Runner 2049 ReviewBlade Runner 2049 is such a good sequel that it makes the case that, between these two films, no other example of the genre has ever made these ideas so vivid, so wrenching, so immediate and raw,” writes Drew McWeeny.

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“Goodbye Christopher Robin” Review: Domhnall Gleeson Is Great In Devastating Film That’s Simon Curtis’ Best Yet

Goodbye Christopher Robin Review“The film is often devastating, and it offers up one of the least sentimental portraits of parenthood that I can remember. It’s also wise enough to suggest that art comes at a cost, and the creation of even the most beautiful things can sometimes leave scars,” writes Drew McWeeny.

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“American Made” Review: Tom Cruise’s Movie Star Charm Only Flies So Far in This Amusing Near-Miss

American Made Review“Director Doug Liman takes such profound liberties with the life of Barry Seal that it’s fair to treat the film as fiction, but it’s also a terrific showcase for one sequence after another of Tom Cruise getting the smug smacked out of him,” writes Drew McWeeny.

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“Battle of the Sexes” Review: Inspirational Film Sees Emma Stone Score Off the Court as Billie Jean King

Battle of the Sexes Review“If even one person sees this film and takes strength from Billie Jean’s personal journey, strength they use to live their life honestly, then that’s even better than winning an Oscar, and this story certainly has the power to do that,” writes Drew McWeeny.

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“Kingsman: The Golden Circle” Review: Matthew Vaughn Continues to Demolish Expectations with Entertaining Sequel

“This is how I like my movie sequels, determined not just to give us more of the same but keenly aware that ‘the same’ is exactly why people buy tickets to sequels. It’s a tricky balancing act, but it feels like Vaughn and his ongoing gang of collaborators enjoy that challenge,” writes Drew McWeeny.

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“American Assassin” Review: A Goofy, Violent, Dumb Action Movie You May Enjoy

Dylan O’Brien’s new film isn’t particularly good, but it had Drew McWeeny on the edge of his seat the whole time.

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“Three Billboards Outside Ebbing, Missouri” Review: Martin McDonagh is at His Best in Latest Dark Comedy

three billboards  excerpt“It feels like the most successful effort yet from an artist who understands that we’re going to have to face some ugly truths if we ever hope to get better from here,” writes Drew McWeeny.

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“Brad’s Status” Review: Ben Stiller Delivers the Best Performance of His Career

BS small There are certain rules that you’ll hear people assert about storytelling on film, and one of those rules is that you should not rely heavily on voice-over, and when you want to show an example of how to shatter that rule completely, Brad’s Status would be a great one.

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“It” Review: Andy Muschietti Delivers a Masterclass on Stephen King

it excerpt“Ultimately, Andy Muschietti is the star of the film. He’s the one making the call about how to approach bringing the horror of Derry to life, and the film is filled with striking imagery pulled right from the nightmare life of the kids … For the first time in a long time, the promise of a sequel feels like a promise, not a corporate threat,” writes Drew McWeeny.

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“Goon: Last of the Enforcers” Review: Seann William Scott Shines in Hard-Hitting Hockey Sequel

Goon: Last of the Enforcers Review“For a long time, Slap Shot was the gold standard for hockey movies, and while neither of the Goon films quite supplants it on their own, I’d say taken as a one-two punch, the Goon franchise has earned its spot in the trophy case,” writes Drew McWeeny.

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“Death Note” Review: Nat Wolff Is Miscast In Ambitious Netflix Adaptation That’s Afraid of Its Own Premise

Death Note Review“This is the most fluid and decisive visual storytelling of director Adam Wingard’s career so far, but it’s hard to give a sh*t when there are no limits to the rules and when the stakes are as confusing as they are here,” writes Drew McWeeny.

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“Logan Lucky” Review: The Most Endearing Slice of Hicksploitation Comedy Since “Raising Arizona”

Logan Lucky ReviewBy now, Steven Soderbergh has to be considered heist film royalty, and it’s clear from the moment this film starts that he is one of the very best filmmakers at this particular type of thing,” writes Drew McWeeny.

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“The Hitman’s Bodyguard” Review: A Slick and Soulless Action-Comedy With Movie Stars Instead of Characters

HitmansBodyguard“You can feel the labor behind every single scene, and you can see how hard everyone’s working, but honestly, it feels a little desperate, like they’re sweating behind those smiles,” writes Drew McWeeny.

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“Annabelle: Creation” Review: Someone’s a Fan of “Poltergeist” Judging by This Fine But Uninspired Prequel

Annabelle: Creation Review“The first Annabelle was a cheap knock-off of The Conjuring, built around fake tension and lame, slow-burn non-scares. This time, there’s plenty of payoff, and once the film hits its third act, it’s fairly relentless in terms of pace and tone,” writes Drew McWeeny.

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“The Dark Tower” Review: Stephen King Movie Is a CGI-Fueled Disaster About the Wrong Character

The Dark Tower Review“I don’t want to beat up on a young actor. They are at the mercy of the director. But Tom Taylor is the wrong person to carry this film, plain and simple. Whatever charisma the kid has is not served by this role, and vice versa,” writes a clearly disappointed Drew McWeeny

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“Atomic Blonde” Review: Action Movie Has Its Pleasures But Charlize Theron Deserves Better

Atomic Blonde“The film tries to throw narrative twists at you, but the narrative is so matter-of-fact that they never really connect as twists. And as far as franchise-building goes, there’s no real narrative hook that makes me want to see this particular character again,” writes Drew McWeeny.

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“Detroit” Review: A Great Piece of Journalism That Doesn’t Make for Great Drama

Detroit Review John Boyega“There’s no special reason that one thing finally pushed people too far back in July of 1967. That was just the moment where everything got to be too much to stomach, and when pushed, a community pushed back,” writes Drew McWeeny of the latest film from Kathyn Bigelow and Mark Boal.

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“Valerian” Review: Luc Besson’s Sci-Fi Epic Is Full of Remarkable Invention But Hindered by Casting

Valerian ReviewNot every actor is right for every kind of film, and I’m pretty well convinced at this point that “heroic lead” is not in Dane DeHaan’s wheelhouse. Cara Delevingne might be better than him, but I’m not sure because she’s curiously underwritten here.

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“Dunkirk” Review: Christopher Nolan’s Harrowing War Movie Packs an Emotional Punch

Dunkirk ReviewDunkirk is not an easy experience. It is not a spoonfed version of history, designed for easy nostalgia. It is a vital and demanding film from an artist who is determined to use the big commercial stage to ask more of the audience,” writes Drew McWeeny.

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