Category Archives: Film Reviews
Vol. 2 may not top its predecessor when it comes to fun, but it still delivers top-notch sci-fi-laden action, emotionally driven family drama, and an adorably irresistible Baby Groot.
In the eighth installment of the multi-billion dollar franchise dramatically titled The Fate of the Furious, the fuel tank only reaches the 3/4 mark and could have used a couple more boosts of NOS to make it reach peak fun-filled ridiculousness.
Percy Fawcett’s story is an amazing tale of courage and wild passion for undiscovered truth. %here are moments when Gray’s adaptation captures those emotions, but the film is one of those movies you’re supposed to like for the sake of liking it. As adventurous as it is, it feels like a film that would have been better if it were released in the late ’90s or early ’00s.
Directed by Marc Webb and penned by up-and-coming screenwriter Tom Flynn, Gifted tells a heartwarming and pretty story about a down-on-his-luck, ruggedly handsome single man and his spunky genius mathematician niece — but it doesn’t add up to much.
In the world created in Charlie McDowell’s The Discovery, many think it’s best to waste no time in getting to the afterlife so they just commit suicide to get there, making this sci-fi drama one of the most gloriously gloomy things you’ll ever watch.
The valiant effort of United Colors of Benetton casting doesn’t make up for the fact that this movie blatantly took an Asian character and gave it to a white actress. Whitewashing controversy aside, this live-action adaptation of the popular magna is boring, robotic, and serves as an excellent sedative.
Dax Shepard and Michael Pena reboot iconic TV characters with new life and swagger, but it’s not enough to make this adaptation spectacular.
The adaptation is entertaining and fun enough to pass muster, but doesn’t break any molds. That being said, fans of the original can rest easy knowing that their childhood won’t be tainted by this diverse, edgy, and millenial-grade redux of Saban’s popular spandex-clad franchise.
The documentary Becoming Bond takes a refreshing approach to the story of one-and-done 007 actor George Lazenby while Bill Nye: Science Guy gives the iconic TV personality the scientific credit he deserves.
Comedy nerds will love how Nobodies puts an absurd slant on a specific part of the comedy community, while the ’90s-set pic Hot Summer Nights fails to pick a lane when it comes to tone.
Whatever you do, don’t call Mr. Roosevelt quirky. Thrift shop dresses are quirky. Ironic coffee shop wall art is quirky. This comedy is not. What could have been an ordinary, boilerplate indie rom-com of the SXSW ilk, is a solid feature debut with lively personality and perspective from Noel Wells.
Aaron Katz’s celeb murder mystery gives eerie vibes throughout, but as the film rolls along, the story loosens its grasp on the audience and makes for an ending that is simply satisfying rather than shocking.
A genre mash-up of 28 Days Later, The Raid, and Office Space, Mayhem is a non-stop gnarly ride of tortuous blood-soaked fights driven by rage — and it is unbelievably awesome.
Evan Katz tackles very heady material in this pulpy noir and although it entertains (to a certain extent) and is stacked with a phenomenal roster of actors, the film tends to become over-involved and twisted within itself.
From beginning to end this is Charlize Theron’s shining moment as an action star. She’s like James Bond, but a lot cooler. Instead of shaken martinis, she guzzles down vodka on eyes and instead of nifty gadgets, she beats guys with everyday items like hoses, hotplates and house keys.
The Light of the Moon is a whirlwind of emotions, but one that never treats its subject of sexual assault with anything but sincere honesty and compassion. It’s an important watch, especially for women, and continues to make the case for more female creators in this space.
Between the Cornetto trilogy and Scott Pilgrim vs. the World, writer-director Edgar Wright has never had a bad film in his career — and he’s continuing that streak with his latest project, Baby Driver.
The latest film from the team of Joe Swanberg and Jake Johnson, Win It All, is a perfectly fine film — good, even, in some regards — but it’s also a safe film.
The new film from Eshom and Ian Nelms, Small Town Crime, feels like it comes exactly out of ’70s Hollywood. Unfortunately, rather than doing anything interesting with the noir crime genre, it simply plays into the same, tired tropes
Somewhere in Terrence Malick’s new film Song to Song there’s a beautiful, poignant, heartbreaking story about women but unfortunately, it’s hard to find in the midst of everything else.
Jordan Vogt-Roberts-directed Kong: Skull Island shoots down all preconceived notions of a “reimagining” and delivers a wildly entertaining adventure that is equal parts action-packed, silly, and fantastically bonkers.
Although a visual marvel, this opulent live-action interpretation of the Disney classic doesn’t capture the magic of the original animated feature. Despite a handful of drawbacks, there is a deeper meaning that can get eclipsed by the ornate fanciness and the movie does a good job of putting it front and center.
Jeffrey Blitz’s dramedy captures the all-to-familiar feeling of “the wedding we don’t want to attend” and the pitiful feeling of being an outcast. The film manages to fish out repressed those “I don’t fit in!” feelings from everyone but is too scattered with multiple half-baked storylines. Its heart is in the right place,but falls a tad bit short in being the charming and cool indie dramedy it wants to be.
Watching Get Out was like watching an episode of The Twilight Zone or Black Mirror in that it gave us a story that felt fictitious enough to entertain, but real enough to freak us out. Peele cleverly uses the horror genre to craft a film that is a delightfully demented mashup of Guess Who’s Coming to Dinner? and Invasion of the Body Snatchers.
James Mangold’s Logan finally gives Jackman an opportunity to spread his claws and partake in all the graphic dismemberment that Wolverine fans deserve and that’s pretty much what diehard fans have been craving for the past decade and a half.
Fist Fight delivers everything you expect to the point where it is predictable and unimaginative — but you watch it anyway because it has some talented, funny people in it. It feels like the kind of comedy that Hollywood made because they felt like this is exactly what the audiences wanted.
The quartet of films helmed by an all-female crew including Roxanne Benjamin, Jovanka Vuckovic, Karyn Kusama, and musician-turned-director Annie Clark (a.k.a. St. Vincent) deliver four very different kind of scares that, although not pee-in-your-pants terrifying, keep in tradition of the horror anthologies before it.
Fifty Shades Darker is the latest serving of the bland relationship adventures of the overwhelmingly basic Anastasia Steele and her painfully dull billionaire beau Christian Grey. As expected, the movie is terrible on all fronts — not “so bad that it’s good” terrible, but “I wish this franchise never existed” terrible.
After being known primarily for the box office spectacle that is the Pirates of the Caribbean movies, it’s refreshing to see Verbinski take a nihilistic and Gothic turn with A Cure For Wellness, but there are too many ideas here and how they are sorted makes the movie a wonderfully art directed mess.
If you didn’t get enough brutal bone-crushing action and inimitable gunfight choreography in the first John Wick, then John Wick: Chapter 2 will quench that thirst for more violent bloodlust and good ol’ fashioned stone-faced Keanu Reeves acting.