Category Archives: Film Reviews
“Phantom 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.
“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.
“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.
“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.
“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.
“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.
“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.
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.
The 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.
“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.
“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.
“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.
“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.
A 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.
“This is a gorgeous movie made by a gorgeous spirit. Uncommonly warm and blessed with a comic voice that feels both fresh and personal,” writes Drew McWeeny.
“When every scene is designed to be the biggest, craziest, dirtiest comedy set piece of all time, the effect becomes somewhat numbing,” writes Drew McWeeny.
Joe Berlinger addresses an important socio-political issue while Griffin Dunne shines the spotlight on an important literary and journalistic figure i.e. his aunt.
“The underlying issue with this franchise is that it’s hopelessly stuck in the past, unable to move on from Tobin Bell’s fair-minded killer John Kramer,” writes Jeff Sneider.
Director Marc Forster (“World War Z”) takes the audience on a ride that “won’t be for everyone,” writes Edward Douglas.
Drew McWeeny writes that George Clooney’s take on the Coen brothers’ story is an “ambitious attempt to marry dark comedy, film noir, and social commentary.”
“Jason Hall’s no-nonsense directorial debut has rewards to offer, even though it doesn’t offer its characters any easy answers,” writes Drew McWeeny.
Margaret Qualley plays a ‘60s teen who decides to become a nun, just as the Catholic Church is making dramatic changes itself.
“The film is not just a look at how Goodall changed our understanding of chimpanzee behavior, but also a sly love story and, simply on an aesthetic level, one of the year’s most beautiful movies,” writes Drew McWeeny.
“On paper, all of this looks like it should be an easy slam dunk. Instead, it adds up to what can only be described as a scorched-earth failure,” writes Drew McWeeny.
“Whoever had the idea of putting [Taika Waitit] together with what could easily have been the grimmest of the Marvel films, should probably get a big fat Christmas bonus this year, because Waititi absolutely knocked Thor Ragnarok out of the park,” writes Drew McWeeny.
“Neither Allen’s best movie nor his worst, although it’s probably stronger due to Winslet’s fabulousness,” says Edward Douglas.
Lana Wilson’s poignant life-affirming doc and Dome Karukoski’s amazing biopic about an LGBTQ icon should be sought out.
“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.
“The type of action movie that just feels dated and not in a fun way either,” says East Coast Editor Edward Douglas.
“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.