{"id":1307,"date":"2019-01-18T13:51:14","date_gmt":"2019-01-18T13:51:14","guid":{"rendered":"http:\/\/otherpeoplesmovies.com\/?p=1307"},"modified":"2022-07-26T18:59:06","modified_gmt":"2022-07-26T18:59:06","slug":"review-roundup-november-and-december-2018-releases","status":"publish","type":"post","link":"https:\/\/otherpeoplesmovies.com\/index.php\/2019\/01\/18\/review-roundup-november-and-december-2018-releases\/","title":{"rendered":"REVIEW ROUNDUP: 2018 Releases"},"content":{"rendered":"\n
\"Odessa
Odessa Young in Assassination Nation<\/figcaption><\/figure>\n\n\n\n

Assassination Nation<\/strong><\/p>\n\n\n\n

Something of a mixture of Heathers <\/em>and Spring Breakers<\/em>, this boldly in-your-face satire is about a group of girls (Odessa Young, Abra, Suki Waterhouse, and Hari Nef) who are brutally slut shamed by their community after their (and everyone else\u2019s) dirty little secrets are exposed by an online hacker. Assassination Nation <\/em>is a viciously comical and feminist attack on White Male America that was written and directed by a white man with endless potential named Sam Levinson. It is a powerfully sincere and endlessly fascinating examination of our hypocritically judgmental and information-overloaded times.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"\"
Jason Momoa in Aquaman<\/figcaption><\/figure>\n\n\n\n

Aquaman<\/strong><\/p>\n\n\n\n

This highly successful DCEU entry owes all of its praises and profits to director James Wan. The tone is pure fun, the action is executed with precision and innovation, and the jaw-dropping effects make for the most visually beautiful spectacle of 2018.<\/p>\n\n\n\n

Jason Momoa and Amber Heard exhibit a magnificent and playful chemistry that should serve future films in the franchise well. While the film\u2019s overly long runtime, silly humor, and cluttered script occasionally cause it to sputter, Aquaman<\/em> still succeeds, overall, as a playfully entertaining viewing experience.<\/p>\n\n\n\n

GRADE: B+<\/strong><\/p>\n\n\n\n

\"\"
Ron Perlman in Asher<\/figcaption><\/figure>\n\n\n\n

Asher<\/strong><\/p>\n\n\n\n

Ron Perlman stars in this leisurely-paced, character-driven comedy\/drama\/thriller about a hitman who has to protect himself and the woman he loves (Famke Janssen) after a job goes south. The action is secondary to character study in the hands of director Michael Caton-Jones. The best set pieces are when some great actors (Perlman, Janssen, Jacqueline Bisset, Richard Dreyfuss) stand or sit around while talking to one another.<\/p>\n\n\n\n

Though Asher<\/em>\u2019s story is a bit tired and bland, its execution is refreshingly and intimately human. Fans of Perlman, in particular, will enjoy seeing him in a perfectly suited role that allows for him to excel.<\/p>\n\n\n\n

GRADE: B+<\/strong><\/p>\n\n\n\n

\"Jon
Jon Hamm, Jeff Bridges, and Cynthia Erivo in Bad Times at the El Royale<\/figcaption><\/figure>\n\n\n\n

Bad Times at the El Royale<\/strong><\/p>\n\n\n\n

Great writing (by its noteworthy director Drew Goddard), a great cast (Jeff Bridges, Chris Hemsworth, Cynthia Erivo, Jon Hamm, Dakota Johnson, Lewis Pullman), and disciplined, innovative filmmaking make for the most rewarding and engrossing film of 2018.\u00a0<\/p>\n\n\n\n

The lives of several desperate souls intertwine at a seedy motel on the California\/Nevada border. As the plot unravels, it turns into something completely unpredictable and boldly haywire. Bad Times at the El Royale <\/em>is a beautifully made thriller with fully drawn characters and a story that keeps every minute as joyously unexpected as the next.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"\"
James Franco in The Ballad of Buster Scruggs<\/figcaption><\/figure>\n\n\n\n

The Ballad of Buster Scruggs<\/strong><\/p>\n\n\n\n

The Coen Brothers\u2019 first foray into the straight-to-VOD market is an anthology of stories that examine the Wild West. It has heart, a darkly quirky sense of humor, and no regard for traditional narrative structure. In other words, it\u2019s the kind of movie that the Coens haven\u2019t made for a while\u2014at least not as well as they used to\u2014and is a welcomed reminder of how exciting their work can be when they throw caution into the wind.<\/p>\n\n\n\n

Though its pacing is sometimes too slow for its own good and it ends on a rather anticlimactic note, The Ballad of Buster Scruggs <\/em>is still essential viewing from two of the most uniquely talented filmmakers of their time.<\/p>\n\n\n\n

GRADE: A-<\/strong><\/p>\n\n\n\n

\"\"
Timothee Chalamet and Steve Carell in Beautiful Boy<\/figcaption><\/figure>\n\n\n\n

Beautiful Boy<\/strong><\/p>\n\n\n\n

Steve Carrell and Timothee Chalamet are flawless in their portrayals of a father and son torn apart by the son\u2019s drug addiction. Beautiful Boy <\/em>is exceedingly well-made and executed. Director\/co-writer Felix von Groeningen explores how deeply addiction affects everyone\u2014not just the individual directly suffering from it.<\/p>\n\n\n\n

There have been plenty of other films made about similar subject matter, however, and there\u2019s nothing particularly revelatory about this one to make it noticeably stand out. Beautiful Boy <\/em>hints at addiction being a mere symptom of larger problems, but it ultimately dwells too heavily on its direct effects to offer much insight on anything else. Despite its lack of originality, however, the film is still a powerful and thoughtful depiction of an addict\u2019s desperate and destructive nature.<\/p>\n\n\n\n

GRADE: B<\/strong><\/p>\n\n\n\n

\"\"
Sandra Bullock in Bird Box<\/figcaption><\/figure>\n\n\n\n

Bird Box<\/strong><\/p>\n\n\n\n

This made-for-Netflix horror\/thriller has a clever concept in which aliens invade us but can only harm those who look at them. It also has an interestingly non-linear structure and a number of great performances (Sandra Bullock and John Malkovich chief amongst them). These elements aid the film\u2019s quality and make it somewhat forgivable that it goes on too long and is more exhausting than suspenseful by the time it reaches its climax.<\/p>\n\n\n\n

GRADE: B-<\/strong><\/p>\n\n\n\n

\"\"
Nicole Kidman and Lucas Hedges in Boy Erased<\/figcaption><\/figure>\n\n\n\n

Boy Erased<\/strong><\/p>\n\n\n\n

Examining homosexual conversion therapy in the early 2000s, this highly informative, if somewhat dramatically underwhelming, film from actor\/adapter\/director Joel Edgerton is well-intentioned, beautifully acted, and skillfully executed. Lucas Hedges, Russell Crowe, Nicole Kidman, and Edgerton are all flawless in their performances.<\/p>\n\n\n\n

The subject matter is highly relevant, but the story could have used a bit more fire to drive its point home. It feels as if the filmmakers felt pressure to soften the film\u2019s presentation and compromise its overall impact.\u00a0Boy Erased <\/em>is a polite tap on the shoulder\u2014albeit a much-needed one\u2014that should have been a lunge for the jugular.<\/p>\n\n\n\n

GRADE: B+<\/strong><\/p>\n\n\n\n

\"\"
Christian Bale as Bumblebee (he can do anything)<\/figcaption><\/figure>\n\n\n\n

Bumblebee<\/strong><\/p>\n\n\n\n

Set in 1987, this spinoff of The Transformers <\/em>movies doesn\u2019t just feel like it takes place in the past, it feels like it was made back then, too. The movie may be after a feeling of nostalgia, but it winds up celebrating the vapidity of the 80s more than anything else. Bumblebee <\/em>is a gimmicky movie that feels like E.T. <\/em>with robots if it were written by Zack Morris and directed by ALF.<\/p>\n\n\n\n

Kids and Transformers <\/em>fans may love it, but most others will most likely feel otherwise. The movie doesn\u2019t get you invested in its characters or storyline, and the endless action\/spectacle is ineffective as a result. It tries to be entertaining, but the visually busy and obnoxiously loud film just ends up being a numbingly exhausting waste of time.<\/p>\n\n\n\n

GRADE: C-<\/strong><\/p>\n\n\n\n

\"\"
Kurt Russell in The Christmas Chronicles<\/figcaption><\/figure>\n\n\n\n

The Christmas Chronicles<\/strong><\/p>\n\n\n\n

This surprisingly enjoyable made-for-Netflix Christmas fable centers on Santa Claus as he experiences a set of misadventures while delivering presents on Christmas Eve. Kurt Russell plays Claus with boundless energy and effervescent charm. Fast, funny, and clever, The Christmas Chronicles <\/em>is destined to become a Christmastime classic.<\/p>\n\n\n\n

GRADE: B+<\/strong><\/p>\n\n\n\n

\"\"
Johnny Depp in Fantastic Beasts:: The Crimes of Grindelwald<\/figcaption><\/figure>\n\n\n\n

Fantastic Beasts: The Crimes of Grindelwald<\/strong><\/p>\n\n\n\n

This second part of the prequel series to the Harry Potter franchise is<\/em> an entertaining spectacle that tries to be as accessible as possible to those who aren\u2019t scholars of J.K. Rowling\u2019s ever-expanding universe. Though it is only partially successful at this, the film still manages to captivate its audience with a number of great performances (Eddie Redmayne and Katherine Waterston develop their already-likable wizard characters), fun set pieces, and some predictably excellent visual effects.<\/p>\n\n\n\n

GRADE: B<\/strong><\/p>\n\n\n\n

\"\"
Rachel Weisz in The Favourite<\/figcaption><\/figure>\n\n\n\n

The Favourite<\/strong><\/p>\n\n\n\n

Yorgos Lanthimos\u2019 follow-up to his ingeniously bizarre The Killing of a Sacred Deer<\/em> is another enthralling and strange effort that only he could execute. Set in 18th<\/sup> century England, the story centers on two women (Emma Stone and Rachel Weisz) who are mercilessly competing for the affections of a mentally deranged Queen Anne (Olivia Colman) for their own personal gain. Wickedly comedic and darkly uncompromising, The Favourite <\/em>is another instant classic by one of the most interesting and unique directors of his time.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"\"
Ryan Gosling in First Man<\/figcaption><\/figure>\n\n\n\n

First Man<\/strong><\/p>\n\n\n\n

First Man, <\/em>Damien Chazelle\u2019s follow-up to La La Land, <\/em>deserves all the award-winning praise that the director\u2019s previous film received. The film centers on Neil Armstrong  (Ryan Gosling) while he prepares for the first expedition to the moon. Since it refuses to sensationalize or melodramatize historical events, the movie is not exactly exciting, but it\u2019s by no means boring, either. It works as well as it does because its extraordinary events are depicted with realism and simplicity.<\/p>\n\n\n\n

Gosling is effortlessly natural and intensely focused as Armstrong. Externally stoic and internally complex, his performance is a fascinatingly human depiction of an American icon. The film is just as much about Armstrong\u2019s character as it is about space travel, and Gosling makes him someone we want to know and watch. Simply put, First Man <\/em>is a moving, intelligent, and artful character study that just happens to be about the first man who ever made it to the moon.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"\"
Ben Foster and Elle Fanning in Galveston<\/figcaption><\/figure>\n\n\n\n

Galveston<\/strong><\/p>\n\n\n\n

Melanie Laurent\u2019s first American directorial effort is a skillfully executed marriage of tension and character drama. Ben Foster gives a wonderful performance as a terminally ill hitman who takes a teenage prostitute (a heartbreaking Elle Fanning) under his wing. <\/p>\n\n\n\n

Based on the book by True Detective<\/em>\u2019s Nic Pizzolatto, Galveston <\/em>was given a bad reputation out of the gate due to the perfectionist writer\u2019s insistence on having his name removed from the screenplay adaptation that he also wrote. Whatever his issues with the finished film may be, it\u2019s still a wonderful representation of his book and his style that also manages to have an intensity, voice, and beauty that is wholly its own. <\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"\"
Mahershala Ali and Viggo Mortensen in Green Book<\/figcaption><\/figure>\n\n\n\n

Green Book<\/strong><\/p>\n\n\n\n

Co-writer\/director Peter Farrelly\u2019s Green Book <\/em>is the kind of movie that critics love to love or love to hate. White people tackling the subject of racism can be tricky. Even when their heart is in the right place, the topic can easily be over-simplified with its more disturbing realities taking a backseat to feel-good contrivances in the form of unrealistic white saviors and other such atrocities.<\/p>\n\n\n\n

Green Book<\/em> somehow manages to face its subject matter honestly while still staying within the confines of a feel-good, mostly sanitized, comedic buddy\/road movie designed to reach mass audiences. Miraculously, it works, aided by Farrelly\u2019s heart and intelligence and by two lead performances (Viggo Mortensen and Mahershala Ali) that are amongst the best of 2018. <\/p>\n\n\n\n

GRADE: A-<\/strong><\/p>\n\n\n\n

\"Michael
Michael Myers returns in Halloween<\/figcaption><\/figure>\n\n\n\n

Halloween<\/strong><\/p>\n\n\n\n

With co-writer\/director David Gordon Green and co-writer Danny McBride\u2019s involvement, this reboot of the beloved horror series should have been more unique. However, Halloween <\/em>is still the best-made and, thanks to Green\u2019s skills and talents, the most suspenseful slasher movie released in quite some time. Jamie Lee Curtis, Judy Greer, and Andi Matichak headline the stellar cast. The film may not offer much new, but it\u2019s still what hardcore John Carpenter fans have wanted for years: a worthy and direct sequel to his 1978 classic.<\/p>\n\n\n\n

GRADE: B+<\/strong><\/p>\n\n\n\n

\"Jeffrey
Jeffrey Wright in Hold the Dark<\/figcaption><\/figure>\n\n\n\n

Hold the Dark<\/strong><\/p>\n\n\n\n

This Jeremy Saulnier (Blue Ruin, Green Room<\/em>) directorial effort is a tense, bleak, and moody mystery\/thriller that is as strange as it is unrelenting. Actor Jeffrey Wright gives credibility and integrity to his character, portraying a writer who is brought to the Alaskan wilderness to help a mother track down her missing child who has seemingly been taken and killed by wolves.\u00a0 Uncompromisingly dark and grisly, Hold the Dark<\/em> is an unpredictable, and rather hopeless, descent into the freezing depths of Alaskan hell.<\/p>\n\n\n\n

GRADE: A-<\/strong><\/p>\n\n\n\n

\"\"
Matt Dillon in The House That Jack Built<\/figcaption><\/figure>\n\n\n\n

The House That Jack Built<\/strong><\/p>\n\n\n\n

Director Lars Von Trier\u2019s film is a character study that follows a serial killer (played with a dangerous affability by Matt Dillon) as he recounts his most notable victims. The film is exactly what you would expect given the subject matter and the filmmaker\u2019s track record: disturbing, mean, surreal, brilliantly executed, and highly engrossing. Thankfully, Trier doesn\u2019t appear to be slowing down or softening with time.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"Owen
Owen Vaccaro in The House With a Clock in its Walls<\/figcaption><\/figure>\n\n\n\n

The House with a Clock in Its Walls<\/strong><\/p>\n\n\n\n

Hostel <\/em>director Eli Roth\u2019s first non-R-rated effort is a clever and fun throwback to 80s classics by the likes of Spielberg and Burton. It\u2019s a family-friendly horror film presented with creativity, heart, and skill. Jack Black, Cate Blanchett, and Kyle MacLachlan all fit the world nicely, delivering comically heightened performances that are equally entertaining and committed.<\/p>\n\n\n\n

GRADE: B+<\/strong><\/p>\n\n\n\n

\"\"
KiKi Lane in If Beale Street Could Talk<\/figcaption><\/figure>\n\n\n\n

If Beale Street Could Talk<\/strong><\/p>\n\n\n\n

Barry Jenkins\u2019 adaptation of James Baldwin\u2019s novel further proves that he is one of the freshest and most exciting filmmakers of his time. If Beale Street Could Talk<\/em> takes on a number of grand-scale themes (racism, the judicial system, sexual assault) but does so without distracting grandiosity or simpleminded preaching. It beautifully communicates the emotional realities of its characters\u2019 lives and refreshingly trusts its audience members to know how to feel and think for themselves.<\/p>\n\n\n\n

KiKi Layne and Regina King stand out from one of the most impressive ensemble casts of 2018.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"\"
Ben Foster and Thomasin McKenzie in Leave No Trace<\/figcaption><\/figure>\n\n\n\n

Leave No Trace<\/strong><\/p>\n\n\n\n

Winter\u2019s Bone <\/em>director Debra Granik outdoes herself with this character-driven drama about a man (an outstanding Ben Foster) who is unable to change despite his efforts to do so for the good of his daughter (an equally outstanding Thomasin McKenzie). The film follows the two characters who, after years of living on their own in an Oregon national park, are forced back into society after they\u2019re caught by law officials. The results are as fascinating as they are unavoidably and movingly heartbreaking.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"\"
Nicolas Cage in Mandy<\/figcaption><\/figure>\n\n\n\n

Mandy<\/strong><\/p>\n\n\n\n

It takes repeat viewings to fully appreciate the brilliance of this surreal, acid-soaked revenge flick starring Nicolas Cage. Is it greatness incarnate or is it simply a standard genre movie elevated to greater heights by some indisputably genius filmmaking? The only thing to be certain of is that it doesn\u2019t matter. There is much to love about Mandy <\/em>and its brash insanity, grotesque beauty, and unapologetically singular vision.<\/p>\n\n\n\n

The balls-out opera of rage and brutality that is Cage\u2019s performance makes it one of the absolute best of his career.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"\"
Sunny Suljic and Na-kel Smith in Mid90s<\/figcaption><\/figure>\n\n\n\n

Mid90s<\/strong><\/p>\n\n\n\n

Jonah Hill\u2019s feature-length writing\/directing debut is the kind of movie we haven\u2019t seen much of since, well, the 90s. The film is a slice-of-life tale about a thirteen-year-old boy (played with vulnerability and well-conveyed adolescent angst by Sunny Suljic) who becomes obsessed with skateboarding and falls in with the wrong (yet oh-so-right) crowd.<\/p>\n\n\n\n

Mid90s <\/em>is a period piece that sheds light on details of the skateboarding subculture. Hill\u2019s observational, non-judgmental approach avoids heavy sentiment, but the film\u2019s heart and the director\u2019s obvious love for its characters also keep it from dwelling too heavily on the darker aspects of its subject matter. Hill is a powerful, thoughtful, and assured presence behind the camera.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"\"
Clint Eastwood in The Mule<\/figcaption><\/figure>\n\n\n\n

The Mule<\/strong><\/p>\n\n\n\n

While it\u2019s not one of director\/icon Clint Eastwood\u2019s best works, The Mule <\/em>is still an entertaining crime caper\/character study about a crusty and horny old man (played by a frail but alert Eastwood) who decides to become a drug mule in order to pay off his debts. It\u2019s impressive to see the late-80s Eastwood deliver, well, anything <\/em>comprehensible at his age, but the movie also has the edge of a butter knife and increasingly unravels at a pace that defines \u201cgeriatric\u201d. It\u2019s still worth checking out, though, if for no other reason than to see America\u2019s favorite cowboy still at it, alive and somewhat kicking.<\/p>\n\n\n\n

GRADE: B-<\/strong><\/p>\n\n\n\n

\"\"
Robert Redford in The Old Man & the Gun<\/figcaption><\/figure>\n\n\n\n

The Old Man & the Gun<\/strong><\/p>\n\n\n\n

This is a charming and well-made film about an aging bank robber (Robert Redford) who, for better or for worse, cannot change his ways. Redford, Sissy Spacek, and Casey Affleck are all excellent in their lead and supporting lead roles. While there is nothing monumentally special about The Old Man & the Gun<\/em>, it is still nice to see some major talents do what they do best for a nice and relaxing couple of hours.<\/p>\n\n\n\n

GRADE: B<\/strong><\/p>\n\n\n\n

\"\"
Wyatt Russell in Overlord<\/figcaption><\/figure>\n\n\n\n

Overlord<\/strong><\/p>\n\n\n\n

Overlord<\/em> is an entertaining, narratively ambitious film that starts off as a hard-hitting World War II story and ends up as a mad scientist\/zombie flick. Director Julius Avery shows a good deal of promise with the film\u2019s blend of well-executed action, well-developed characters, and great performances (Jovan Adepo and Wyatt Russell chief among them). Like many young filmmakers, however, his storytelling abilities aren\u2019t quite finessed enough yet to fully carry out his bigger ideas.\u00a0<\/p>\n\n\n\n

By trying to be two different movies, Overlord <\/em>never fully succeeds at being a complete one\u2014though it does have one hell of a good time trying.<\/p>\n\n\n\n

GRADE: B<\/strong><\/p>\n\n\n\n

\"\"
Jennifer Garner in Peppermint<\/figcaption><\/figure>\n\n\n\n

Peppermint<\/strong><\/p>\n\n\n\n

Jennifer Gardner is a badass and should be one of the biggest movie stars in the world. All she needs now is an agent who won\u2019t settle on scripts as scattered and contrived as the one for Peppermint<\/em>. It should have been a simple reimagining of Death Wish<\/em>, only with a woman instead of a man exacting revenge against those who killed her family. Unfortunately, the film is a convoluted, unfocused mess that haphazardly skips from one joyless subplot to the next. Far too complicated for its own good, Peppermint <\/em>never takes full advantage of its greatest and simplest asset: Jennifer Garner is a badass.<\/p>\n\n\n\n

GRADE: C-<\/strong><\/p>\n\n\n\n

\"You
You know who this is<\/figcaption><\/figure>\n\n\n\n

The Predator<\/strong><\/p>\n\n\n\n

The Predator <\/em>is a shaky entry to the classic, entertaining, and somewhat inconsistent franchise about aliens who hunt humans for sport. The most interesting concept in the film (The Predator coming to modern-day American suburbia) is, unfortunately, never given the exploration it deserves. A subplot involving a small boy (Jacob Tremblay) getting ahold of The Predator\u2019s outfit and becoming its target comes off a bit too Spielberg-y, which doesn\u2019t fit the tone of the franchise (or the rest of this film) particularly well.<\/p>\n\n\n\n

Despite its imperfections, however, the film does have a lot of positive qualities. The cast (Tremblay, Boyd Holbrook, Olivia Munn, Sterling K. Brown, Thomas Jane) is amazing and the script (by director Shane Black and Fred Dekker) has many clever (though often underdeveloped) ideas and entertaining dialogue exchanges. There are also plenty of thrilling moments and some cool, well-designed monsters to be found in the film. The Predator <\/em>is an undeniably flawed movie, but it\u2019s one that was made with skill by some highly talented people.<\/p>\n\n\n\n

GRADE: B-<\/strong><\/p>\n\n\n\n

\"\"
Yalitza Aparicio in Roma<\/figcaption><\/figure>\n\n\n\n

Roma<\/strong><\/p>\n\n\n\n

Director Alfonso Cuaron\u2019s black-and-white, 70s-set drama centers on a Mexican family and their young, recently pregnant housemaid (portrayed by Yalitza Aparicio with naturalistic grace). Beautifully photographed by Cuaron himself, the film is observational and unobtrusive in its approach, allowing the reality of its characters to unfold in front of us without a heavy hand or manipulative emotional guidance. Roma <\/em>is a quietly powerful and highly unforgettable film.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"\"
Anna Kendrick and Blake Lively in A Simple Favor<\/figcaption><\/figure>\n\n\n\n

A Simple Favor<\/strong><\/p>\n\n\n\n

Director Paul Feig (Bridesmaids, Spy<\/em>) delivers some of his best, most refined work with this nasty little thriller\/dark comedy that feels more like an indie than the slickly produced studio vehicle that it actually is. Anna Kendrick stars as a well-intentioned, depressed, and widowed suburban mom who takes it on herself to find her friend (Blake Lively) after she mysteriously vanishes. <\/p>\n\n\n\n

Kendrick and Lively are both perfectly cast and deliver performances that rank amongst the best in their careers. Wholly captivating, A Simple Favor <\/em>is one of the most viciously entertaining major studio productions of its time.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"John
John C. Reilly and Joaquin Phoenix in The Sisters Brothers<\/figcaption><\/figure>\n\n\n\n

The Sisters Brothers<\/strong><\/p>\n\n\n\n

This character-driven western benefits from all-around great performances (John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal, Riz Ahmed, Allison Tolman), beautiful cinematography by the great Benoit Debie, and a disciplined, classical filmmaking style courtesy of director Jacques Audiard. At its best, the film is quirky, alive, and heartfelt–particularly in its quieter, more intimate scenes. Its pacing, however, drags and its script chooses to dwell on a rather uninteresting and prolonged last act that makes the movie, despite all its quality, conclude with a forgettable and flat thud.<\/p>\n\n\n\n

GRADE: B-<\/strong><\/p>\n\n\n\n

\"\"
Spider-Man Noir and Spider-Man<\/figcaption><\/figure>\n\n\n\n

Spider-Man: Into the Spider-Verse<\/strong><\/p>\n\n\n\n

From an animation standpoint, Spider-Man: Into the Spider-Verse<\/em> is one of the most groundbreaking achievements of its time. Simply put, the film is a comic book in motion with painstakingly minute details filling every beautiful frame.<\/p>\n\n\n\n

Story-wise, however, the film is a little underwhelming because it puts too much emphasis on yet another origin story featuring Spider-Man. Though this one has a clever storyline that features different Spider-Men from alternate dimensions coming together, none of the characters are given enough focus or screen time to truly stand out. However, Nicolas Cage voicing the character of Spider-Man Noir does give the film a significant push in the right direction.<\/p>\n\n\n\n

GRADE: B+<\/strong><\/p>\n\n\n\n

\"\"
Bradley Cooper and Sam Elliot in A Star Is Born<\/figcaption><\/figure>\n\n\n\n

A Star is Born<\/strong><\/p>\n\n\n\n

Needless to say, the music in this fourth interpretation of A Star is Born<\/em> is the main attraction. Bradley Cooper, as both a musician and an actor, is perfection incarnate.  Lady Gaga\u2019s music is as great and soaring as ever, but her performance as an actress only shows promise. She is, by no means, bad, but she is misdirected (by Cooper) to overact so heavily in the film\u2019s first act that it mars her entire performance. While the film (along with Gaga\u2019s acting) gets better as it moves along, it never fully survives the fact that it\u2019s a bit of an outdated story that doesn\u2019t have much of a point beyond gluing together several show-stopping musical numbers.<\/p>\n\n\n\n

The smaller, quieter moments between Gaga and Cooper in the film\u2019s mid-section are, along with the music, some of the best moments the film has to offer.  The true star of the show, however, is Sam Elliot with an Oscar-deserving portrayal of Cooper\u2019s tired, older, and hopelessly faithful brother.<\/p>\n\n\n\n

GRADE: B-<\/strong><\/p>\n\n\n\n

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Dakota Johnson in Suspiria<\/figcaption><\/figure>\n\n\n\n

Suspiria<\/strong><\/p>\n\n\n\n

This artfully crafted remake of Dario Argento\u2019s 1977 Italian cult classic is an intriguing head-scratcher. It expands upon and deters from its predecessor quite heavily while still remaining true to its heart (despite what Argento himself has stated in the press). Director Luca Guadagnino skillfully delivers tension and atmosphere that would make Kubrick or Lynch jealous. This is the kind of moody, cerebral horror movie that doesn\u2019t want to scare you as much as it wants to disturb you, get under your skin, and infect you at the core of your being.<\/p>\n\n\n\n

Overall, the film excels with its intentions, though it does become somewhat exhausting by the time it reaches the end of its two-and-a-half-hour runtime. That being said, the Suspiria <\/em>remake is perfect for when you want to watch something fascinating and disturbing, then have it run through your mind long after it\u2019s over.<\/p>\n\n\n\n

GRADE: A-<\/strong><\/p>\n\n\n\n

\"\"
Venom<\/figcaption><\/figure>\n\n\n\n

Venom<\/strong><\/p>\n\n\n\n

Tom Hardy stars in this interpretation of the Spider-Man comic book villain sans Spider-Man. Despite the film\u2019s existence being completely forced and unnecessary, director Ruben Fleischer somehow manages to deliver an exciting and humorous movie that showcases one of the best actors of our time further proving that he can do just about anything. For such a shamelessly money-grubbing effort, Venom <\/em>is a surprisingly entertaining and fun movie.<\/p>\n\n\n\n

GRADE: B<\/strong><\/p>\n\n\n\n

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Christian Bale and Amy Adams in Vice<\/figcaption><\/figure>\n\n\n\n

Vice<\/strong><\/p>\n\n\n\n

Vice <\/em>boasts a great cast (Christian Bale deserves his praise but it\u2019s truly Amy Adams\u2019 show), good intentions, and a clever style that swings for the fences with its ambition. Unfortunately, it\u2019s also a bit of a mess that tries so hard to make too many points that it forgets to dramatically involve us, particularly in its last half. <\/p>\n\n\n\n

The film makes it clear up front that no one knows who its subject, Dick Cheney (Bale), really is. While Vice <\/em>is an educational film that is not without its value, what writer\/director Adam McKay is trying to convey with it would have been better serviced in a non-fiction documentary format. The film’s primary fault is that there is not enough information provided (or available) about Cheney, this amoral ghost of a man, to make an emotionally satisfying narrative film with him as the main character.<\/p>\n\n\n\n

GRADE: B-<\/strong><\/p>\n\n\n\n

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Steve Carell in Welcome to Marwen<\/figcaption><\/figure>\n\n\n\n

Welcome to Marwen<\/strong><\/p>\n\n\n\n

Welcome to Marwen<\/em> is a human story told with equal amounts of heart and spectacle by its exceptionally talented co-writer\/director, Robert Zemeckis. The film centers on an artist (Steve Carell, in his best dramatic work to date) who survived a vicious attack and copes with his post-traumatic stress by retreating into a fantasy world inspired by his collection of vintage dolls. Welcome to Marwen<\/em> is a unique and hopeful film that successfully communicates many powerful emotions while still providing some great entertainment and truly innovative visual effects.<\/p>\n\n\n\n

GRADE: A<\/strong><\/p>\n\n\n\n

\"Richie
Richie Merrit in White Boy Rick<\/figcaption><\/figure>\n\n\n\n

White Boy Rick<\/strong><\/p>\n\n\n\n

Matthew McConaughey is as solid as ever in this reality-based film. He portrays Rick Wershe, Sr., the father of Rick Wershe, Jr., also known as White Boy Rick. Rick, Jr. is an undercover teenage informant for the FBI who is literally trained to deal drugs, something for which he is eventually sentenced to life in prison.<\/p>\n\n\n\n

As Rick, Jr., newcomer Richie Merrit carries the film with an inherent integrity that makes him equally watchable and sympathetic. The character, however misguided, is full of heart, compassion, and tragic innocence. The film also showcases such qualities, making for an intelligent, funny, and emotionally moving experience that sheds a little light on the lack of true justice in our judicial system.<\/p>\n\n\n\n

GRADE: A-<\/strong><\/p>\n\n\n\n

\"Viola
Viola Davis and Liam Neeson in Widows<\/figcaption><\/figure>\n\n\n\n

Widows<\/strong><\/p>\n\n\n\n

Director Steve McQueen\u2019s follow-up to 12 Years a Slave<\/em> is probably the biggest disappointment of 2018. Co-written by McQueen and Gone Girl<\/em> novelist\/screenwriter Gillian Flynn, the film features one of the most impressive ensemble casts assembled for a film in recent years. Viola Davis, Liam Neeson, Michelle Rodriguez, Colin Farrell, Robert Duvall, Carrie Coon, John Bernthal, Elizabeth Debicki, and Daniel Kaluuya all deliver unquestionably solid work. Sadly, they are all overshadowed by a script that is frustratingly unfocused, tangential, and contrived.<\/p>\n\n\n\n

The film\u2019s primary story centers around three widows (Davis, Debicki, and Rodriguez) whose husbands die in a robbery. The women are then threatened by and forced to pay back the criminals who had their money stolen. It\u2019s a great premise that could have and should have been the sole focus of the movie. It isn\u2019t, however, as the film tries to fit in too many subplots (prostitution, police shootings, a racially-charged political race, etc.) with too little screen time to properly develop any one of them. Unfortunately, McQueen\u2019s ambition and lack of focus hinder the audience\u2019s empathy towards his and Flynn\u2019s characters. By trying to say far too much, Widows<\/em> ultimately ends up communicating very little.<\/p>\n\n\n\n

GRADE: C+<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Assassination Nation Something of a mixture of Heathers and Spring Breakers, this boldly in-your-face satire is about a group of girls (Odessa Young, Abra, Suki Waterhouse, and Hari Nef) who are brutally slut shamed by their community after their (and everyone else\u2019s) dirty little secrets are exposed by an online hacker. Assassination Nation is a […]<\/p>\n","protected":false},"author":2,"featured_media":1169,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-1307","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"_links":{"self":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1307","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/comments?post=1307"}],"version-history":[{"count":9,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1307\/revisions"}],"predecessor-version":[{"id":3236,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1307\/revisions\/3236"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media\/1169"}],"wp:attachment":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media?parent=1307"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/categories?post=1307"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/tags?post=1307"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}