Category Archives: Film Reviews

A place to find all of our film reviews.

“Revenge” Review: Director Coralie Fargeat Announces Herself as the Real Deal With Her Blood-Soaked First Feature

Revenge Review“This is as much a “movie movie” as something like Evil Dead II, and I don’t make that comparison lightly. By the time star Matilda Lutz assumes her final form in this film, she is as iconic in her way as Ash was with his chainsaw hand,” writes Drew McWeeny.

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“The Tale” Review: Laura Dern Delivers in This Emotionally Powerful, Deeply Disturbing Drama

The Tale Review“I think this is a brave film precisely because it’s not about someone doing every single thing right. It’s not about someone who perfectly handles something. It’s messy. It’s frustrating. And, yeah, when it’s very good, it’s great. And important. And insightful,” writes Drew McWeeny.

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“Juliet, Naked” Review: The Nick Hornby Genre Is Alive and Well Thanks to a Strong Cast Led by Rose Byrne

Juliet, Naked Review“Director Jesse Peretz seems to be growing as a filmmaker, and he’s got such a solid foundation in the form of the script by Tamara Jenkins and Jim Taylor that it gives him plenty of room to work,” writes Drew McWeeny.

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“Mandy” Review: Nicolas Cage’s Deranged Revenge Thriller Is Lush and Gorgeous, Even at Its Ugliest

Mandy ReviewDirector Panos Cosmatos and his co-writer Aaron Stewart-Ahn absolutely know what movie they’re making, and they are after something that draws together all of the various things that have influenced them in a way that is personal and authentic, and not just about what looks cool,” writes Drew McWeeny.

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“Won’t You Be My Neighbor?” Review: Mr. Rogers Documentary Arrives at a Critical Time for Common Decency

Won't You Be My Neighbor ReviewMr. Rogers’ Neighborhood remains one of the definitive works of art in any medium about the way childhood imagination works,” writes Drew McWeeny, who said the emotional film “broke” him.

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“Den of Thieves” Review: Gerard Butler’s Ugly, Childish Heist Movie Rips Off “Heat” and “The Usual Suspects”

Den of Thieves Review“This irresponsible trash is an inauspicious debut for director Christian Gudegast, who will have to try harder if he ever hopes to have anything to actually say,” writes Drew McWeeny.

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“The Commuter” Review: Liam Neeson Looks Embarrassed in This Ridiculous, Predictable “January Movie”

The Commuter ReviewJaume Collet-Serra’s latest action-packed mystery movie is an exercise in wheel-spinning, and by February, it will have dissolved completely, like a snowflake on a tongue,” writes Drew McWeeny.

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“Bright” Review: Will Smith’s Fantasy Film Made More “Noise” Than Sense, But That’s All That Matters to Netflix

Bright Drew McWeeny“The things that Ayer gets right in Bright are the tangible details of what it feels like to use magic in the world of the film, and there are some moments that are effective. But overall, it was impossible for me to fully give myself over as a viewer because I had a hard time understanding what the stakes and the rules were,” writes Drew McWeeny.

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Under the Radar: Maysaloun Hamoud’s “In Between” Is a Timely and Topical Film with an Amazing Energy

InBetween1The feature debut from the Palestinian filmmaker looks at three different Arab women living in Tel Aviv and trying to juggle their jobs, romance and faith.

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“Insidious: The Last Key” Review: A Dull Conclusion to the Series that Resorts to the Laziness that Often Accompanies Sequels

Insidious4Review2Edward Douglas calls the latest installment “a wasted opportunity to end on a high note rather than merely petering away.”

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“Hostiles” Review: Writer-Director Scott Cooper Delivers His Most Focused and Uncompromising Film Yet

Hostiles“Christian Bale is one of those actors who can easily tip into self-parody in the wrong role, but when he’s in sync with a filmmaker and the material is there, he can still surprise. He digs deep here, and watching the way he plays the gradual thaw for the protagonist of this Western is powerful,” writes Drew McWeeny.

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“All the Money in the World” Review: Ridley Scott Pulls Off a Miraculous Actor Swap, But His Film Still Lacks Warmth

All the Money in the World Review“Mark Wahlberg is completely miscast here, and the weird, vague threat of a romantic subplot involving Gail Harris (Michelle Williams) strikes me as both false and gross considering the circumstances,” writes Drew McWeeny.

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“The Greatest Showman” Review: Hugh Jackman’s PT Barnum Musical Strikes Too Many False Notes

The Greatest Showman Review“It’s ironic that two actual Disney Channel stars — Zac Efron and Zendaya — provide the one moment that transcends the sort of shiny, made-for-TV quality that suffuses the rest of the film,” writes Drew McWeeny.

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“Downsizing” Review: Matt Damon Is All Wrong for This Hateful, Phony Film From Alexander Payne

Downsizing Review“There’s an ugly heart to Downsizing and an ugly eye shooting it, and the result is dispiriting. For the first time, I feel like the knock against Alexander Payne and Jim Taylor as being condescending and misanthrophic, descriptors that have dogged them from the start, is starting to become immutable truth,” writes Drew McWeeny.

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“Jumanji: Welcome to the Jungle” Review: Dwayne Johnson, Kevin Hart Have Good Comic Chemistry, But Jack Black Steals the Show

Jumanji Review“Much like I would say RoboCop is one of the great comic book movies despite not being based on a real comic book, this might be the best video game movie so far despite not being based on an actual video game,” writes Drew McWeeny.

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“Star Wars: The Last Jedi” Review: Rian Johnson’s Thrilling Entry Represents a Genuine Moment of Growth For the Franchise

The Last Jedi Review“What is clear above all is that Star Wars is in good hands, and that the series retains the ability to both give us what we crave, and surprise us with choices,” writes Drew McWeeny.

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“Phantom Thread” Review: Daniel Day-Lewis Helps Paul Thomas Anderson Find His Voice With This Lush, Disturbing Film

Phantom Thread ReviewPhantom Thread is going to be with me long after the conversations about this year’s awards have faded, and for many viewers, this is going to be a film worth an obsession as focused as the one shared by its main characters,” writes Drew McWeeny.

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“The Post” Review: Meryl Streep Is the Heart and Soul of Feminist Film That Feels Urgent

The Post Review“Thank god we have a populist storyteller as morally focused as he is gifted to use his platform to tell stories that matter at the exact moment they matter most,” Drew McWeeny writes of director Steven Spielberg.

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“I, Tonya” Review: Margot Robbie Is Ferocious as Tonya Harding Because She Has the Same Hunger That Drove Her

I Tonya Review“There is a legitimate anger on display in Craig Gillespie’s film, and you get the feeling it was made as dark comedy because the alternative would be almost too grim to bear,” writes Drew McWeeny.

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“Darkest Hour” Review: Gary Oldman Is At His Absolute Best In Joe Wright’s Rousing and Sincere Drama

Darkest Hour Excerpt“Oscar-nominated screenwriter Anthony McCarten (The Theory of Everything, Bohemian Rhapsody) stays in a biopic groove here, and it’s his approach to the material that makes Darkest Hour interesting. He knows that it’s not just which story you’re telling, but how you tell it,” writes Drew McWeeny.

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“The Shape of Water” Review: Guillermo del Toro’s Dream Project Is Timely, Timeless, and His Most Personal Film to Date

ShapeofWaterTN“It’s beautiful to see a movie where the heroes — Sally Hawkins, Richard Jenkins and Octavia Spencer — are the people who would be pushed to the edge of the frame in any other movie like this,” writes Drew McWeeny.

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“The Disaster Artist” Review: James Franco Finally Pulls It All Together With Moving Comedy That Never Resorts to the Easy Joke

The Disaster Artist“The Franco brothers’ natural ease with one another allows them to try some big, risky things as performers, and it pays off in an intimacy that shorthands the years of friendship between Greg Sestero and Tommy Wiseau,” writes Drew McWeeny.

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“Call Me by Your Name” Review: Desire Runs Deep in This Touching Love Story That Feels Like a Beautiful Memory

“James Ivory’s films are usually about the ways people deny the desires that define them, while Luca Guadagnino seems more interested by what happens when we surrender to them. It makes for a terrific collaboration,” writes Drew McWeeny.

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“Coco” Review: Pixar’s Latest Offers Lovely Music, Genuine Emotion and an Increasingly Familiar Formula

In terms of original storytelling, “the studio doesn’t seem to be innovating in the way they once did, and that feels like cause for concern,” writes Drew McWeeny.

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“Mudbound” Review: Dee Rees Proves Herself as a Filmmaker With This Powerful Period Drama

mudboundTNThe film, which examines racism in the South and stars Carey Mulligan, Garrett Hedlund, Jason Mitchell, Jason Clarke, Rob Morgan and Mary J. Blige, is now available to watch on Netflix.

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“Wonder” Review: Jacob Tremblay Delivers an Honest, Wrenching Performance in a Film Teeming With Empathy

“Director Stephen Chbosky demonstrates a real facility for recreating the feeling of being young, capturing the terror and the joy and the courage of it with an expert eye,” writes Drew McWeeny.

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“Justice League” Review: An Incoherent & Overstuffed Story Holds Back a Potentially Fun Film

justice league“In its best moments, Justice League is genuinely fun, with a comic book attitude that can be elusive to even the most talented filmmakers working from similar source material. At its worst, it’s simply incoherent,” writes Drew McWeeny.

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“Roman J. Israel, Esq.” Review: Denzel Washington Gives a Great Performance That’s In Search of a Good Movie

“Dan Gilroy is good at what he does, and he will make plenty of great films… this just isn’t one of them,” writes Drew McWeeny.

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“Murder on the Orient Express” Review: Kenneth Branagh’s Elegant Remake Delivers Old-Fashioned Pleasures

“When you’ve got talent like Michelle Pfeiffer, Josh Gad, Daisy Ridley, Penelope Cruz, Leslie Odom Jr., Derek Jacobi, Olivia Colman, Judi Dench, and Willem Dafoe as the various passengers, you know you’re in good hands,” writes Drew McWeeny.

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“The Square” Review: Ruben Östlund’s Thrilling New Film Refuses to Play By the Rules and Give Easy Answers

the squareA thrilling accomplishment by an artist who is only getting better, the film raises major questions about whether “moral courage” in art is really courage at all, or if it’s all just one big human centipede of self-satisfaction,” writes Drew McWeeny.

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