Category Archives: Film Reviews
“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
“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.
“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.
“It’s easy to lose the parents in a film like this, but both John Turturro and Edie Falco have their moments, and Landline allows both of them prove just how nimble they are at character-building,” writes Drew McWeeny.
Not 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.
“Dunkirk 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.
Despite the scoffs and eye rolls, Sony thought it was time to revamp the Spider-Man franchise for the third time, but with a little boost from Marvel Studios. As the saying goes, the third time’s a charm.
All the ingredients are in place in this third installment of the Minion-infested Despicable Me franchise, but when combined, it lacks the exciting flavor and energy of its predecessors.
As much as it parallels heartwarming child-meets-creature movies, Okja is definitely not E.T. It’s a sweet and strange tale that has relevant ideas but is overstuffed with eccentricities and tonal cocktails that make it exhausting and at times, frustrating to watch.
One could easily say that Edgar Wright’s latest, Baby Driver is a cooler and less bleak version of Drive. Sure, both have a getaway driver as the protagonist, but that’s where the comparisons stop. Plus, Ansel Elgort as a getaway driver is a lot more fun than a brooding Ryan Gosling in a quilted satin bomber jacket with a totally rad scorpion on the back.
Director-writer Matt Reeves goes above and beyond the call of duty and elevates the Apes franchise even more, making War for the Planet of the Apes an epic masterpiece to bookend an outstanding sci-fi trilogy.
There are certain movies that are just so mindlessly insane that are executed in a way that makes you actually buy into the ridiculousness they are selling (i.e. the Fast and Furious franchise). Movies of the sort provide an enjoyable dose of fun that is worth your time. Transformers: The Last Knight is not one of those movies.
A “who’s zoomin’ who?” celebration of scheming for both genders that keeps in the spirit of Coppola’s pensive, atmospheric aesthetic, but is unexpectedly straightforward in its delivery, leaving a craving for more of her nuanced stoicism that we have grown to love — or that has driven us crazy.
Full of deep sea despair, massive Great White sharks, and a star from This Is Us, the movie delivers some the best jump-in-your-seat thrills, but at the same time, it’s just a series of ignorant decisions made by the characters that will have you rooting for the Great Whites.
Rough Night defies expectations with solid comedy and adds raunchy nuance (didn’t know that was possible) to the predictable drunken, drug-ridden fun of a cinematic bachelorette party.
The third installment of the popular franchise switches gears from the less-than-desirable Cars 2 by delivering a heartwarming story of ambition and maturity that flips the script with subtle subtext of inclusion.
Your typical indie comedy will give you honey-colored hues, beautiful shots of nature, and humorously deadpan conversations over heartfelt tension. Brigsby Bear starring and co-written by Saturday Night Live performer Kyle Mooney will give audiences all that and more with an unexpected twist that drives the emotional current for the full film.
In Miguel Arteta’s Beatriz at Dinner, the social anxiety is cranked up to full blast as very timely issues surface between the soft-spoken, yet strong-minded Beatriz and a self-centered, arrogant businessman to provide rousing dinner conversation and, in turn, one delightfully intense of a film about the division of class and race.
Director-writer Trey Edward Shults shows his savvy and brilliance in framing a quiet thriller, but even with all the scares and mystery, it leaves you unsatisfied and disappointed.
Balancing humor, grace, and the emotional dynamics of relationships with others and with oneself, The Hero is a moving film that serves as an example on how to treat and pay homage to cinematic icons.
The MCU approach to Universal’s Dark Universe of classic monsters hopes to revitalize a legendary time in Hollywood, but after watching Tom Cruise lead the charge in The Mummy, the studio may want reconsider their approach.
Captain Underpants is a much-needed jolt of joy amidst the action-packed drama of the MCU and the DCEU that reminds us that comic books are also fun, silly, and filled with wild child-like imagination.
Director Patty Jenkins sets a new bar for the movies in the DCEU, making Wonder Woman a unconquerable savior in a lineup of punch-happy heroes who like tearing down buildings and metaphorically comparing the sizes of their codpieces.
Despite its occasional melodrama and disposable tertiary characters, the film is an emotional surprise, serving up a brave and touching story about a woman and her dog that doesn’t seem like a made-for-TV sob pic.
The latest installment of the franchise breaks the mediocrity of the last two films as it returns to form with a fresh energy, “yo-ho-ho” humor, and high seas adventure that echoes the brilliance of The Curse of the Black Pearl.
Even with two huge marquee names leading the charge, this adaptation drowns itself in dated raunchy humor, stale dick jokes, gay panic riffs, and clunky writing that not even the Hoff could save.
The director who brought us stylized across-the-pond greatness like Snatch and Lock, Stock and Two Smoking Barrels attempts to inject the same tough-as-nails swagger to Camelot lore but ends up making a tangled Arthurian mess.
The Jonathan Levine-directed comedy written by Kate Dippold and produced by Paul Feig is spirited, surprisingly emotional, and obviously fun, but it lacks an extra layer of zest to make it a hit comedy that the world will be talking about six months from now.
The latest installment of the sci-fi franchise twists the Alien storytelling formula enough so that it keeps the viewer engaged, the characters interesting, and doesn’t regurgitate the same story we have seen in these movies time and time again. It’s also bloody entertaining….literally.
From MPAA ratings to transwashing, the controversies surrounding 3 Generations weighed the film down and made it lose its primary storytelling focus — which didn’t seem well-executed from the start.