{"id":1361,"date":"2019-02-01T13:24:25","date_gmt":"2019-02-01T13:24:25","guid":{"rendered":"http:\/\/otherpeoplesmovies.com\/?p=1361"},"modified":"2022-07-21T15:39:41","modified_gmt":"2022-07-21T15:39:41","slug":"review-roundup-december-2018-and-january-2019-releases","status":"publish","type":"post","link":"https:\/\/otherpeoplesmovies.com\/index.php\/2019\/02\/01\/review-roundup-december-2018-and-january-2019-releases\/","title":{"rendered":"REVIEW ROUNDUP: 2019 Releases"},"content":{"rendered":"\n
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Richard Brake, Sheri Moon-Zombie, and Bill Moseley in 3 From Hell<\/figcaption><\/figure>\n\n\n\n

3 From Hell<\/strong><\/p>\n\n\n\n

Rob Zombie\u2019s return to the Firefly clan contains flashes of the depraved inspiration that made the previous films in this trilogy–House of 1000 Corpses<\/em> and The Devil\u2019s Rejects<\/em>–such grisly and renowned cult classics. Such flashes are disappointingly (and quite sadly) far and few between, however. In spite of a promising first act, the film continuously unravels into a complete (and increasingly unwatchable) mess that merely retreads the motions of its predecessors without grasping the essence of what made them so dementedly special in the first place.<\/p>\n\n\n\n

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

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6 Underground<\/figcaption><\/figure>\n\n\n\n

6 Underground<\/strong><\/p>\n\n\n\n

If Michael Bay ever had a two-hour-plus orgasm, this is what the inside of his head would look like during it. Take what you will from that.<\/p>\n\n\n\n

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

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Brad Pitt in Ad Astra<\/figcaption><\/figure>\n\n\n\n

Ad Astra<\/strong><\/p>\n\n\n\n

Underrated contemporary auteur James Gray delivers a moving and intense\u2014though not quite spectacular\u2014science fiction epic that is filled to the brim with realistic and relatable human emotions.<\/p>\n\n\n\n

The film reaches for the stars with its ambition, unraveling its story with action, suspense, and horror until it eventually settles on a brutally stirring father\/son drama in space. By aspiring to so many great heights, the film can\u2019t quite decide on what it should focus upon, and it ultimately underwhelms as a result. Brad Pitt delivers an exceptionally mature and committed performance.<\/p>\n\n\n\n

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

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The Addams Family<\/figcaption><\/figure>\n\n\n\n

The Addams Family<\/strong><\/p>\n\n\n\n

This Tim Burton-y, computer-animated, stop-motion-looking reboot of the darkly comedic franchise is an inventive and welcome alternative to the otherwise colorful selection of family-friendly titles that tend to dominate the market. It doesn\u2019t quite live up to the charms of the sixties television series or contain anything that matches Angelica Huston and Raul Julia\u2019s magical chemistry in the nineties movies. However, the film still provides plenty of laughs and entertainment to those looking for something a little creepier and kookier than the standard family fare.<\/p>\n\n\n\n

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

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Ethan Hawke in Adopt a Highway<\/figcaption><\/figure>\n\n\n\n

Adopt a Highway<\/strong><\/p>\n\n\n\n

Wow, this movie sure wants you to like it. And it could have succeeded if it addressed the fact that its entire premise\u2014a recently released prison inmate (Ethan Hawke) finds an abandoned infant girl and decides to ineptly care for her without telling anyone\u2014is kinda creepy. Hawke does his best to be innocent and lovable, but the fact that the ramifications of his questionable decisions are never fully explored makes the film amount to little more than wannabe feel-good fluff.<\/p>\n\n\n\n

It should also be noted that Adopt a Highway<\/em> houses the most obnoxious and trite portrayal of a manic-pixie-dream-girl-savior since Garden State.<\/em><\/p>\n\n\n\n

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

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Will Smith in Aladdin<\/figcaption><\/figure>\n\n\n\n

Aladdin<\/strong><\/p>\n\n\n\n

Gorgeous photography, innovative editing, and some rambunctious choreography can\u2019t save this bloated, stagey, and completely unwarranted remake of the Disney animated classic. Aside from the always-great Will Smith (who does his own iconic twist on the iconic role forever owned by Robin Williams), the cast is flavorless and, much like the film that houses them, instantly forgettable. Uninspired additions to the original\u2019s musical numbers and storyline only make Aladdin<\/em>\u2019s film\u2019s two-hour-plus runtime feel all the more unbearable.<\/p>\n\n\n\n

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

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Sasha Luss in Anna<\/figcaption><\/figure>\n\n\n\n

Anna<\/strong><\/p>\n\n\n\n

Writer\/director Luc Besson\u2019s critically maligned action opus is actually a pulpy, trashy, and thrillingly stylish return to form for the French action auteur. Impeccably paced, wildly structured, beautifully cast, and surprisingly funny, this is one of the most entertaining popcorn flicks of its year. Star Sasha Luss is a highly believable action movie badass.<\/p>\n\n\n\n

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

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Annabelle Comes Home<\/figcaption><\/figure>\n\n\n\n

Annabelle Comes Home<\/strong><\/p>\n\n\n\n

This third entry in the Conjuring <\/em>spin-off series delivers enough scares and suspense to satisfy its audience. <\/em>However, it\u2019s not particularly innovative or engaging and it lacks the story and character development to compete with the quality of other films in its franchise. If you\u2019re a fan, Annabelle Comes Home <\/em>should, at the very least, appease you until a better film set in its universe comes along.<\/p>\n\n\n\n

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

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Jesse Eisenberg in The Art of Self-Defense<\/figcaption><\/figure>\n\n\n\n

The Art of Self-Defense<\/strong><\/p>\n\n\n\n

Jesse Eisenberg delivers another top-notch, comically dry performance in this pitch-black quirk fest of an indie comedy. Working entirely on its own logic in its own absurdist universe, the film is a strange melding of Wes Anderson and Fight Club. The Art of Self-Defense<\/em> leaves significant scars on our psyche but not without making us giggle the whole time at how cleverly strange and uncomfortable it is.<\/p>\n\n\n\n

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

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Robert Downey, Jr. in Avengers: Endgame<\/figcaption><\/figure>\n\n\n\n

Avengers: Endgame<\/strong><\/p>\n\n\n\n

This is the epic finale to ten-plus years of twenty-plus movies. Unfortunately, it never matches the stakes of its predecessor (the excellent Infinity War)<\/em> and is a rather disappointing send-off to this phase of all things Marvel. Endgame<\/em> underwhelms due to an overwhelming plot cluttered with an even more overwhelming amount of subplots. These subplots may wrap up story arcs from different movies in the MCU, but they have nothing to do with the already-convoluted plot of this one.<\/p>\n\n\n\n

Emotional sendoffs to beloved characters grow tiresome, and the most important one falls flat, playing more like an unintentional nod to Tropic Thunder<\/em> than the tragic and memorable goodbye that the character and its fans deserve. That being said, Marvel never makes outright bad movies. Endgame <\/em>certainly boasts some great visual effects, exciting action set pieces, and other memorable moments. It just would have been nice if the higher-ups were less concerned about making an epic movie and more concerned about making a good one.<\/p>\n\n\n\n

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

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A Beautiful Day in the Neighborhood<\/strong><\/p>\n\n\n\n

Tom Hanks lives up to perfect casting with his shaded and accessible portrayal of Mr. Rogers in A Beautiful Day in the Neighborhood<\/em>. Director Marielle Heller and screenwriters Micah Fitzerman-Blue and Noah Harpster avoid standard biopic trappings by reflecting the icon\u2019s kindness and sincerity through the eyes of a troubled writer (an excellent Matthew Rhys) who is doing a story on him. Though he partially remains a mystery, Mr. Rogers\u2019 philosophies are still fully exhibited in the film with enough heart and intelligence to do the man and his legacy proud.<\/p>\n\n\n\n

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

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Zach Galifianakis in Between Two Ferns: The Movie<\/figcaption><\/figure>\n\n\n\n

Between Two Ferns: The Movie<\/strong><\/p>\n\n\n\n

Though it has a handful of Big Laugh moments and a number of memorably amusing ones sprinkled throughout, this adaptation of Zach Galafianakis\u2019 hit Funny or Die series goes on far too long and spreads itself far too thin to work as a feature-length film. Galafianakis more than proves that his dry, committed, and straight-faced deliveries can carry a movie. Next time, he just needs a little meatier of a premise to justify his enormous talent.<\/p>\n\n\n\n

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

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Naomie Harris and Tyrese Gibson in Black and Blue<\/figcaption><\/figure>\n\n\n\n

Black and Blue<\/strong><\/p>\n\n\n\n

Naomie Harris delivers a sensationally strong and vulnerable performance in Black and Blue<\/em>, portraying a rookie New Orleans cop on the run from her crooked fellow officers after witnessing a murder. This thoughtful thriller delivers just the right balance of character, social commentary, and suspense to rise above standard genre fare. Director Deon Taylor channels early Watler Hill and keeps the audience on edge with grounded, gritty action and tight, unrelenting pacing. Tyrese Gibson offers excellent support as an honest citizen caught in the middle of the mayhem.<\/p>\n\n\n\n

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

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Viveik Kalra in Blinded by the Light<\/figcaption><\/figure>\n\n\n\n

Blinded By the Light<\/strong><\/p>\n\n\n\n

Blinded By the Light <\/em>follows a Pakistani Brit college student (Viveik Kalra) who struggles with his identity and finds solace in listening to the music of Bruce Springsteen. Highly inventive and overall well made, this eighties-set dramedy, unfortunately, suffers from a rather severe case of over-sentimentalization. While the film offers unique points of view on Pakistani culture and the intense, beautiful fusion of young people\u2019s emotions with the popular music of their times, it can also be so embarrassingly sweet and cutesy that it sometimes comes dangerously close to choking on its own good intentions.<\/p>\n\n\n\n

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

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Sean WIlliam Scott in Bloodline<\/figcaption><\/figure>\n\n\n\n

Bloodline<\/strong><\/p>\n\n\n\n

Sean William Scott just keeps getting more and more interesting as he ages. His once-manic energy is still present but more contained\u2014which makes him perfect for the role of a Dexter<\/em>-like guidance counselor who satisfies his murderous urges by going after the abusive parents of his students. The story features a number of surprising twists, all of which are classily and stylishly executed by director\/co-writer Henry Jacobson.<\/p>\n\n\n\n

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

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Kaitlyn Dever and Beanie Feldstein in Booksmart<\/figcaption><\/figure>\n\n\n\n

Booksmart<\/strong><\/p>\n\n\n\n

Booksmart <\/em>is a raunchy and witty coming-of-age comedy about two teenage girls (Kaitlyn Dever and Beanie Feldstein) who decide to let loose the night before graduation. Mayhem ensues as the girls explore new adventures with sex, drugs, and pizza deliverymen. Booksmart <\/em>is a funny film, but it tries so hard to be the female Superbad<\/em> that it forgets to be as unique.<\/p>\n\n\n\n

Standing on its own merits, however, Booksmart <\/em>is a lively, moving, and clever comedy about best friends, growing up, and letting go. The blunt female perspective that director Olivia Wilde offers is original enough to make the film worth seeing, even if the events depicted within it are variations of things we\u2019ve before seen plentifully. Dever and Feldstein have a vivacious and effortless onscreen chemistry, but Billie Lourd steals the show as an insane, drug-hazed pixie who almost always seems to be on hand to add the punchline to the film\u2019s funniest moments.<\/p>\n\n\n\n

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

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Brie Larson in Captain Marvel<\/figcaption><\/figure>\n\n\n\n

Captain Marvel<\/strong><\/p>\n\n\n\n

Marvel Studios manages to keep their tad-tiresome formula fresh with this addition to their multiverse. <\/em>Directors Anna Boden and Ryan Fleck keep the pacing fast and the mood fun. Samuel L. Jackson, Ben Mendelsohn, Jude Law, Annette Benning, and Clark Gregg are all excellent in supporting roles but it\u2019s ultimately Brie Larson\u2019s show as the title character. Larson effortlessly encapsulates the charisma, integrity, and fierceness required to make Captain Marvel another classic hero in the Marvel Cinematic Universe.<\/p>\n\n\n\n

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

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Naomi Scott, Kristen Stewart, and Ella Balinska in Charlie’s Angels<\/figcaption><\/figure>\n\n\n\n

Charlie\u2019s Angels<\/strong><\/p>\n\n\n\n

This unjustified colossal bomb at the box office deserves a second life on home video. As far as unnecessary sequels\/reboots go, this is actually one of the better ones in recent years. Star Kristen Stewart proves how lovable and lively she can be onscreen. Writer\/director Elizabeth Banks showcases a flashy, funny style and a knack for staging memorable and involving action sequences. It\u2019s just too bad nobody saw it.<\/p>\n\n\n\n

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

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Matt Smith in Charlie Says<\/figcaption><\/figure>\n\n\n\n

Charlie Says<\/strong><\/p>\n\n\n\n

Director Mary Harron and screenwriter Guinevere Turner\u2019s third feature collaboration (after the classic American Psycho <\/em>and the underrated The Notorious Bettie Page<\/em>) is a shockingly dull and highly unnecessary film about the attempted reformation of three of Charles Manson\u2019s imprisoned cult members. Good performances, sturdy filmmaking, and a well-textured representation of the summer of \u201969 don\u2019t make up for the fact that the film forgets to say anything new about the horrific and well-documented crimes.<\/p>\n\n\n\n

The film presents facts, but the characters are never properly developed. While Matt Smith\u2019s intense portrayal of Manson certainly captures his insanity, the film never provides him with the chance to showcase Manson\u2019s true horrors: his intelligence, charm, and ability to manipulate others to do his biddings. We never understand why these Manson followers ever fell under his spell in the first place, so we have no empathy for them when the film is over. Charlie Says<\/em> is a disappointingly forgettable and pointless film made by some otherwise highly talented people.<\/p>\n\n\n\n

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

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HAL the killer doll in Child’s Play<\/figcaption><\/figure>\n\n\n\n

Child\u2019s Play<\/strong><\/p>\n\n\n\n

This disappointing reboot would have been wiser to simply rip off the original\u2019s concept and keep itself as far away from the classic horror franchise as possible. In this new incarnation, Chucky the killer toy is now a malfunctioning piece of artificial intelligence rather than a demon-possessed doll. Though interesting enough in its own right, the film\u2019s premise doesn\u2019t capture the soul, humor, or horror of the original. This film simply doesn\u2019t feel like anything that warrants the expectation-inducing title of Child\u2019s Play.<\/em><\/p>\n\n\n\n

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

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Sofia Boutella in Climax<\/figcaption><\/figure>\n\n\n\n

Climax<\/strong><\/p>\n\n\n\n

Gaspar No\u00e9 continues his cinematic parade of sex, violence, drugs, and madness with Climax. <\/em>Featuring a non-stop 90s club music soundtrack, the film focuses on a dance troupe having a party. What starts off as a celebration (highlighted by some amazing and innovative dance numbers) turns into a nightmare when it is discovered that one of the members spiked the sangria with a heavy dose of LSD.<\/p>\n\n\n\n

As per usual with No\u00e9\u2019s work, a description never comes close to the joyously intense and overloaded thrill of experiencing it. Climax <\/em>is like Fame <\/em>on hallucinogens if it were written by Harmony Korine and directed by Stanley Kubrick. Simply put, it is brilliant and beautiful insanity.<\/p>\n\n\n\n

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

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Sophie Nelisse and Noomi Rapace in Close<\/figcaption><\/figure>\n\n\n\n

Close<\/strong><\/p>\n\n\n\n

Noomi Rapace\u2019s excessive talent is completely wasted in this generic actioner. Playing a bodyguard who takes an assignment to babysit a rich and spoiled heiress (Sophie Nelisse), Rapace\u2019s intensity and focus still manage to stand out in this otherwise inept production.<\/p>\n\n\n\n

Cowriter\/director Vicky Jewson stages the action with some skill, but the characters\u2019 emotional lives and relationships come off completely contrived. Nelisse\u2014a wonderful young actress who showed a great deal of promise in 2017\u2019s Mean Dreams\u2014<\/em>is given little to do but pout, whine, and screech. By the time the film reaches its highly underwhelming climax (did they simply run out of money at that point?), you can\u2019t help but wish Rapace would just throw in the towel and leave the little brat to fend for herself. That wouldn\u2019t necessarily make for a good movie, but it would, at least, be more memorable than this one.<\/p>\n\n\n\n

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

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Robert DeNiro (through digital enhancements) in Crawl<\/figcaption><\/figure>\n\n\n\n

Crawl<\/strong><\/p>\n\n\n\n

A campy and schlock-filled premise featuring killer alligators is classily and expertly executed in this shockingly engaging horror\/thriller. Though you have to suspend disbelief at times and suppress some giggles here and there, the film manages to keep its audience in some seriously riveting, edge-of-your-seat suspense for the entirety of its duration. Kaya Scodelario and Barry Pepper are both excellent in lead roles.<\/p>\n\n\n\n

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

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Sophie Turner in Dark Phoenix<\/figcaption><\/figure>\n\n\n\n

Dark Phoenix<\/strong><\/p>\n\n\n\n

Surprisingly, this is one of the better latter-stage X-Men <\/em>films. Dark Phoenix<\/em> interestingly explores the darkness and heart of some of the franchise\u2019s more underdeveloped characters. By no means a masterpiece, the film manages to be an overall fitting and entertaining (likely) end to an overall stale and tired franchise.<\/p>\n\n\n\n

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

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Bill Murray and Adam Driver in The Dead Don’t Die<\/figcaption><\/figure>\n\n\n\n

The Dead Don\u2019t Die<\/strong><\/p>\n\n\n\n

Jim Jarmusch\u2019s meta-indie-horror-zombie-comedy is as strange (and as esoteric) as you\u2019d expect. A great cast (Bill Murray, Adam Driver, Chloe Sevigny, Tilda Swinton, Danny Glover, Steve Buscemi) makes up for a script that is occasionally too on-the-nose with its satirical observations. Minor faults aside, however, the film is still a fascinating, dryly entertaining, and quirkily unique horror movie that only Jim Jarmusch could create.<\/p>\n\n\n\n

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

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Ewan McGregor in Doctor Sleep<\/figcaption><\/figure>\n\n\n\n

Doctor Sleep<\/strong><\/p>\n\n\n\n

It takes a couple of viewings to fully appreciate this sequel to The Shining<\/em> for what it is. Is it the same level of masterful, unrelenting horror as the Kubrick classic? No, but it\u2019s not trying to be. Just as The Shining<\/em> was, at its core, a human story about familial abuse and alcoholism, Doctor Sleep<\/em> is about growing up and facing such demons.<\/p>\n\n\n\n

Whereas The Shining<\/em> emphasizes feeling and mood, Dr. Sleep<\/em> emphasizes character and enormous heart. Even with these qualities, however, the film is still reflected through a familiar and terrifying lens that makes it feel as if the ghost of Kubrick himself was watching over its creation.<\/p>\n\n\n\n

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

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Eddie Murphy in Dolemite Is My Name<\/figcaption><\/figure>\n\n\n\n

Dolemite Is My Name<\/strong><\/p>\n\n\n\n

Biopic screenwriter auteurs Scott Alexander and Larry Karaszewski (The People vs. Larry Flynt, Ed Wood) <\/em>return to full form with yet another celebration of an under-celebrated American fringe celebrity. In this case, it\u2019s Rudy Ray Moore: comedian, rap pioneer, and independent filmmaker. Director Craig Brewer brings Alexander and Karaszewski\u2019s inspired screenplay to sparkling life, and Eddie Murphy delivers his best feature performance in decades as Moore.<\/p>\n\n\n\n

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

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Nikolaj Coster-Waldau and Carice van Houten in Domino<\/figcaption><\/figure>\n\n\n\n

Domino<\/strong><\/p>\n\n\n\n

A basic police revenge thriller\/drama becomes pretty damn confusing when secret government organizations and fundamentalist terrorists join the party in this film by (to some, at least) the great Brian De Palma. Despite its many rough edges, the film does exhibit a fair amount of the director\u2019s stylistic ingenuity. That\u2019s not saying it\u2019s a particularly good film, however, as it is undeniably one of his weakest and most unrefined efforts.<\/p>\n\n\n\n

Domino<\/em>\u2019s structure is beyond uneven and is, oftentimes, a mess. Supposedly, producers edited nearly an hour of De Palma\u2019s work from the gutted 89-minute version that exists now. The finished film is jumpy, uneven, and contains a number of sloppy editing choices, making it clear that it is merely a shadow of what De Palma originally intended.<\/p>\n\n\n\n

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

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Lucas Hedges as Dumbo (he’s in everything, these days)<\/figcaption><\/figure>\n\n\n\n

Dumbo<\/strong><\/p>\n\n\n\n

Tim Burton delivers another adaptation of an already classic film with this live-action production of Dumbo. <\/em>While the film may not be the visionary director at his best, it is still a moving and heartfelt update of the original Disney film, nonetheless.<\/p>\n\n\n\n

Dumbo <\/em>doesn\u2019t take the risks of Burton\u2019s most noteworthy films, but it does have a sensitivity that hasn\u2019t been so fully present in his work for quite some time. In Burton\u2019s hands, Dumbo <\/em>is another tale of an outsider told with sincerity and empathy. While it\u2019s a bit too formulaic and safe to be as powerful as, say, Edward Scissorhands,<\/em> the film still manages to capture the essence of Tim Burton\u2019s whimsical beauty.<\/p>\n\n\n\n

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

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Aaron Paul in El Camino: A Breaking Bad Movie<\/figcaption><\/figure>\n\n\n\n

El Camino: A Breaking Bad Movie<\/strong><\/p>\n\n\n\n

This feature-length Breaking Bad <\/em>epilogue is enough to satisfy long-term fans but is, disappointingly, not quite great enough to appeal to new ones. Mildly enriching the fate of the beloved Bad <\/em>character, Jesse Pinkman (an always-great Aaron Paul), the film serves as a modestly tasty dessert to an unforgettable and already-filling meal. Robert Forster steals the show in a supporting role that is, sadly, one of his last.<\/p>\n\n\n\n

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

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John Travolta in The Fanatic<\/figcaption><\/figure>\n\n\n\n

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

Not as bad as you\u2019ve probably heard, this confused thriller\/character drama\/dark comedy from writer\/director Fred Durst is effective and disturbing–but not without being terribly uneven. John Travolta does a solid and committed job of portraying a pathetic Hollywood stalker (just don\u2019t call him that), and the film is a somewhat intelligent meditation on the complicated and disturbing relationship between celebrities and their fans. It\u2019s just too bad that the film can\u2019t make up its mind on what, exactly, it wants to say about it.<\/p>\n\n\n\n

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

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Jason Statham, Idris Elba, and Dwayne Johnson in Fast & Furious Presents: Hobbs and Shaw<\/figcaption><\/figure>\n\n\n\n

Fast & Furious Presents: Hobbs & Shaw<\/strong><\/p>\n\n\n\n

This Fast & Furious <\/em>spinoff hits all the right beats of the gloriously over-the-top action franchise but still manages to be its own thing. Dwayne Johnson and Jason Statham make a great pair, and their snappy, bickering onscreen chemistry keeps the pacing light and funny. Director David Leitch delivers some outstanding and (at this point in his career after Atomic Blonde<\/em> and Deadpool 2<\/em>) predictably jaw-dropping action set pieces.<\/p>\n\n\n\n

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

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Christian Bale in Ford V Ferrari<\/figcaption><\/figure>\n\n\n\n

Ford V Ferrari<\/strong><\/p>\n\n\n\n

Its subject matter may be as fascinating as a round of golf and as safe as a cuddle with a teddy bear, but that doesn\u2019t detract from how exceedingly well-made this historical depiction of Ford Motors\u2019 1966 auto racing rivalry with Ferrari actually is.<\/p>\n\n\n\n

Director James Mangold intelligently focuses as much on the human aspects of the story as he does on the cool car stuff, keeping the viewer engaged on multiple levels. Matt Damon and Christian Bale both excel at portraying the underdogs we can\u2019t help but want to succeed. Though the story isn\u2019t exactly brimming with urgency or suspense, it will still entertain and appease just about anyone with its good ol\u2019 fashioned (and overall unobtrusive) sense of Americana.<\/p>\n\n\n\n

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

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Sam Worthington in Fractured<\/figcaption><\/figure>\n\n\n\n

Fractured<\/strong><\/p>\n\n\n\n

The Machinist<\/em> director Brad Anderson delivers another head-bending psychological drama with his latest feature. Sam Worthington is full-on gut-wrenching as a frantic family man trying to find his missing wife and daughter in a small-town hospital that may or may not have sinister intentions towards its patients. Fractured <\/em>is an involving, character-driven thriller that will keep you guessing until the end.<\/p>\n\n\n\n

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

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Will Smith in Gemini Man<\/figcaption><\/figure>\n\n\n\n

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

The blockbuster pairing of Ang Lee, Will Smith, and Jerry Bruckheimer is a solidly successful and disappointingly underrated one. Feeling like something out of the nineties (in a good way), the film is a thoughtful and artful actioner that reaches some interesting heights. However, it also dumbs itself down just enough to prevent itself from reaching greatness. That being said, the CGI alone, which enables a middle-aged Will Smith to battle a clone of his twenty-year-old self, is impressive enough to make the film worth seeing.<\/p>\n\n\n\n

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

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Julianne Moore in Gloria Bell<\/figcaption><\/figure>\n\n\n\n

Gloria Bell<\/strong><\/p>\n\n\n\n

Julianne Moore gives another great performance in cowriter\/director Sebastian Lelio\u2019s English-language remake of his 2013 Chilean dramedy, Gloria<\/em>. Moore plays a middle-aged, divorced mother of two grown children (Caren Pistorius and Michael Cera) who frequents L.A. dance clubs in search of love. She soon finds it in the form of an interested but distracted recent divorcee (the equally great John Turturro).<\/p>\n\n\n\n

Sometimes the pacing drags, but that doesn\u2019t take away from the film\u2019s overall impact. Funny and achingly real, Gloria Bell<\/em> is a romantic comedy made for adults, one that doesn\u2019t end when the sun sets on the girl getting her guy. It\u2019s a concurrently sad and hopeful tale of a woman slowly and painfully learning that she only has herself to rely on for happiness. Gloria Bell<\/em> manages to leave its viewers with the enlightened optimism of a fairy tale without succumbing to comforting, crowd-pleasing lies.<\/p>\n\n\n\n

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

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Nicolas Cage in Grand Isle<\/figcaption><\/figure>\n\n\n\n

Grand Isle<\/strong><\/p>\n\n\n\n

Sometimes, you watch a low-budget movie and you have to forgive its limitations. To be fair, there\u2019s a case to be made (and this is only a guess) that Grand Isle<\/em> might have run out of money before it was finished. It\u2019s the only rational explanation for its near-incoherent and abrupt ending.<\/p>\n\n\n\n

Nicolas Cage stars as an ex-marine who hires his strapping young fence repairman (Luke Benward) to murder his deeply unstable wife (KaDee Strickland). Cage gives his all yet again and delivers an unhinged performance that ranks amongst his most bonkers. His presence doesn\u2019t exactly make the film good, but it does, at the very least, make it entertaining.<\/p>\n\n\n\n

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

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Isabella Huppert in Greta<\/figcaption><\/figure>\n\n\n\n

Greta<\/strong><\/p>\n\n\n\n

Chloe Grace Mortez plays a na\u00efve and good-hearted New Yorker who finds a lost bag on the subway, then returns it to its rightful owner (Isabella Huppert). The two quickly develop a deep friendship until Mortez discovers she\u2019s been snared into a trap by a very dangerous and psychotic manipulator.<\/p>\n\n\n\n

Greta<\/em> plays like a throwback to 90s psycho thrillers like Single White Female <\/em>and The Hand That Rocks the Cradle<\/em>. It is unable to offer anything fresh or new to the genre, however, and is a frustratingly unsatisfying experience. Though the film features some skilled filmmaking from co-writer\/director Neil Jordan and wonderful performances from Huppert, Mortez, and Maika Monroe, there\u2019s nothing about its flat storyline that justifies the efforts of the undeniable talent that brought it to life.<\/p>\n\n\n\n

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

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Jessica Rothe in Happy Death Day 2U<\/figcaption><\/figure>\n\n\n\n

Happy Death Day 2U<\/strong><\/p>\n\n\n\n

This unnecessary sequel to the Groundhog Day-<\/em>esque 2017 horror\/comedy–about a shallow college girl (Jessica Rothe) who has to repeatedly relive the day on which she is murdered– is more enjoyable than it should have been. Happy Death Day 2U<\/em> takes it on itself to explain the mysterious phenomenon of the first movie and why it starts happening again in the sequel. While this specificity opens the door to the potential of a huge letdown, the sequel is surprisingly clever enough to pull it off without ruining what made the first movie succeed.<\/p>\n\n\n\n

The film also manages to have some successful and moving dramatic moments without spoiling the silliness and fun of its primary tone. Rothe is as comically sharp and intensely focused as she was in the first film, but she is also given more of an opportunity to showcase an impressive emotional range in this one.<\/p>\n\n\n\n

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

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Cynthia Erivo in Harriet<\/figcaption><\/figure>\n\n\n\n

Harriet<\/strong><\/p>\n\n\n\n

This well-intentioned and well-made biopic about Harriet Tubman\u2014the heroic woman who escaped slavery and then helped free hundreds of other slaves– is a movie you want to love. It attempts to go places few movies dare and celebrates a historical subject whose story needs <\/em>to be told.<\/p>\n\n\n\n

Star Cynthia Erivo is one of today\u2019s most exciting and talented young actresses, and she provides Tubman with a quiet, grounded grace and integrity. However, this far-too-polite production refuses to get its hands dirty (why does Erivo look like she just emerged from the make-up trailer when someone describes her as \u201cnear death?\u201d) and comes off as a very well-produced but dramatically underwhelming special on the History Channel.<\/p>\n\n\n\n

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

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August Diehl in A Hidden Life<\/figcaption><\/figure>\n\n\n\n

A Hidden Life<\/strong><\/p>\n\n\n\n

Terrence Malick (somewhat) returns to narrative storytelling after releasing his ultra-auteurist trilogy of films (To the Wonder, Knight of Cups, Song to Song<\/em>) that were so exclusive that you had to be Terrence Malick in order to fully understand them. A Hidden Life<\/em> is as lyrical and poetic as you\u2019d expect any Malick film to be. His beautifully nature-enveloped, nonlinearly edited style is present throughout the film. His work is also refreshingly more straightforward this time around, however, as it depicts an easily understood story and identifiable characters.<\/p>\n\n\n\n

The film centers on a German man (a wonderful August Diehl) who denounces Nazi beliefs during WWII and suffers the consequences. The full emotional impact of the near-three-hour film is slightly muffled by Malick\u2019s tendency to linger and create redundancies with his poetic experiments. In spite of a lack of brevity and discipline that prevents it from being one of his true masterpieces, A Hidden Life <\/em>still manages to rank high amongst the auteur\u2019s heavenly body of work.<\/p>\n\n\n\n

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

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Robert Pattinson in High Life<\/figcaption><\/figure>\n\n\n\n

High Life<\/strong><\/p>\n\n\n\n

An experiment on criminals in space turns very artistic and atmospheric in Claire Denis\u2019 science fiction drama, High Life<\/em>. Lead Robert Pattinson continues to prove himself as a dedicated, diverse actor. He provides the film with its only real source of humanity, as the rest of the characters (not to mention the overall story) are somewhat lost in the film\u2019s overwhelming and almost fetishized focus on its own opaque style.<\/p>\n\n\n\n

High Life<\/em> is an interesting effort, but not a particularly engaging or memorable one.<\/p>\n\n\n\n

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

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Woody Harrelson and Kevin Costner in The Highwaymen<\/figcaption><\/figure>\n\n\n\n

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

The Highwaymen<\/em> is a re-telling of the Bonnie and Clyde story told from the point of view of the law enforcers who stopped them. Kevin Costner and Woody Harrelson both deliver performances that rank amongst their best. With a thoughtful script from John Fusco and classically expert direction by John Lee Hancock, the film is the perfect antithesis to the sensationalized and lovable outlaws seen in the classic 1967 Warren Beatty\/Faye Dunaway-starring interpretation. The Highwaymen<\/em> intelligently trivializes Bonnie and Clyde\u2019s public idolization by focusing on the pain and destruction that their chaotic rampages caused.<\/p>\n\n\n\n

On the flip side, the film doesn\u2019t easily succumb to making simplistic heroes out of Costner or Harrelson, either. They\u2019re both wounded, complicated characters forced to make tough decisions out of duty and obligation\u2014not glory or excitement. The Highwaymen<\/em> is a mature and astute examination of crime that refuses to celebrate it.<\/p>\n\n\n\n

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

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Shia LaBeouf and Noah Jupe in Honey Boy<\/figcaption><\/figure>\n\n\n\n

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

Yet another addiction story is given a deeply personal touch in the hands of screenwriter\/actor Shia LaBeouf and director Alma Har\u2019el. The film is fractured in its narrative and guided by a style that combines hand-held grittiness, Malick-like ethereal beauty, and Wes Anderson-like quirkiness. Honey Boy<\/em>\u2019s presentation alone makes it memorable. What makes it truly special, however, is LaBeouf\u2019s naked honesty with both his autobiographical screenplay and his flawlessly empathetic portrayal of his own abusive father.<\/p>\n\n\n\n

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

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Constance Wu and Jennifer Lopez in Hustlers<\/figcaption><\/figure>\n\n\n\n

Hustlers<\/strong><\/p>\n\n\n\n

This is exactly what we\u2019ve needed for a very long time: a fast, funny, gritty, and honest cinematic portrayal of strippers that was written and directed by a woman. In this case, that woman is the exceptionally talented Lorene Scafaria.<\/p>\n\n\n\n

Star Constance Wu carries the weight of the film on her shoulders with dedication and ease, while Jennifer Lopez outright shines with a career-defining performance that manages to showcase her many amazing abilities as an actress.<\/p>\n\n\n\n

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

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Boyd Holbrook in In the Shadow of the Moon<\/figcaption><\/figure>\n\n\n\n

In the Shadow of the Moon<\/strong><\/p>\n\n\n\n

Director Jim Mickle continues to prove himself as one of the most capable and unique directors of atmospheric, genre-oriented thrillers. While this film is as entrancing and enthralling as his best efforts (Cold in July<\/em>, Stakeland<\/em>) in its first half, it fails to come to a proper intellectual or emotional conclusion in its confusing and unnecessarily convoluted second half. In the Shadow of the Man <\/em>ultimately doesn\u2019t live up to the expectations created by having such a gifted filmmaker behind it.<\/p>\n\n\n\n

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

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Adam DeVine and Rebel Wilson in Isn’t It Romantic<\/figcaption><\/figure>\n\n\n\n

Isn\u2019t It Romantic<\/strong><\/p>\n\n\n\n

Rebel Wilson proves she can carry a movie with Isn\u2019t It Romantic, <\/em>a cute film that simultaneously parodies and celebrates romantic comedies. Wilson plays a cynic who, after surviving a blow to the head, wakes up and finds herself living in a romantic comedy.<\/p>\n\n\n\n

The film has a great time exploring all the clich\u00e9s of the genre, but it struggles to reach its feature-length runtime and has far too much padding in the form of extended musical numbers and overplayed bits. A premise that should have been a great sketch or short gets somewhat tired as a feature. However, Wilson\u2019s charisma and presence still manage to make it an overall good time.<\/p>\n\n\n\n

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

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Bill Hader in It: Chapter 2<\/figcaption><\/figure>\n\n\n\n

It: Chapter 2<\/strong><\/p>\n\n\n\n

Though its near-three-hour runtime is somewhat bloated, this second half to 2017\u2019s excellent first-half adaptation of Stephen King\u2019s classic bestseller is equally effective, creepy, and moving. Jessica Chastain, James McAvoy, Bill Hader, Isaiah Mustafa, and Jay Ryan all portray grown-up versions of the child characters depicted in the previous film. Every single cast member is pitch-perfect, but it\u2019s easy to jump on the Hader bandwagon because it\u2019s nothing short of a fact to state that he steals the entire show.<\/p>\n\n\n\n

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

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Keanu Reeves in John Wick: Chapter 3- Parabellum<\/figcaption><\/figure>\n\n\n\n

John Wick: Chapter 3 – Parabellum<\/strong><\/p>\n\n\n\n

Keanu Reeves is back to kick more ass in the most extreme, innovative, and borderline absurd ways imaginable in John Wick: Chapter 3 – Parabellum<\/em>. Portraying the now-iconic hitman who is still suffering the ramifications of avenging his beloved puppy, Reeves is as brutally smooth and as lovably stoic as he\u2019s ever been.<\/p>\n\n\n\n

The third John Wick film is unrelenting, plowing forward with one action set piece after another. This starts to grow tiresome in the last twenty minutes or so, but that\u2019s like complaining about being full after eating a great meal. The film\u2019s violence is crafted by director Chad Stahelski in such an artful and engaging manner that you simply can\u2019t turn away, even when your brain can\u2019t fully process the carnage any longer. Considering the heights with which Stahelski started on the first John Wick<\/em>, his ability to continuously raise the stakes is proving more impressive with each new entry in the series. John Wick: Chapter 4 <\/em>can\u2019t come soon enough.<\/p>\n\n\n\n

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

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Joaquin Phoenix in Joker<\/figcaption><\/figure>\n\n\n\n

Joker<\/strong><\/p>\n\n\n\n

Joaquin Phoenix may or may not have done the unthinkable and topped Heath Ledger\u2019s iconic portrayal of The Joker. At the very least, he matches it in this bleak, socially aware, and exceptionally daring origin story of the classic Batman villain.<\/p>\n\n\n\n

Director\/co-writer Todd Philips pushes all his ego aside, capturing Phoenix\u2019s insanity, spontaneity, and vulnerability with a maturely detached\u2014though slightly bent\u2014presentation. The film gets under our skin without sensationalizing or glorifying its protagonist\u2019s increasingly psychotic mindset. This is one of the most intelligent, disturbing, and adult-oriented comic book movies ever made.<\/p>\n\n\n\n

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

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Renee Zellweger in Judy<\/figcaption><\/figure>\n\n\n\n

Judy<\/strong><\/p>\n\n\n\n

Renee Zellweger is flawless in her portrayal of Judy Garland during the later stages of her life and career. Though it is solidly executed and informative, the film fails to deliver anything special or inspired to make it rise above standard biopic formulas and trappings. For fans of Garland, however, the film should, at the very least, serve as a sweet and moving love letter to her ever-lasting legacy.<\/p>\n\n\n\n

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

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Roman Griffin Davis and Taika Waititi in Jojo Rabbit<\/figcaption><\/figure>\n\n\n\n

Jojo Rabbit<\/strong><\/p>\n\n\n\n

Writer (based on Christine Leunens\u2019 novel)\/director Taika Waititi intelligently defies all tonal standards with this WII comedy\/drama about a lonely German boy\u2019s (Ronan Griffin Davis) relationship with his imaginary friend, Hitler (Waititi). With biting satire that is mirrored through the whimsical innocence of a child\u2019s eyes, Watiti is able to depict some rather horrific and disturbing realities while still communicating hope and humanity.<\/p>\n\n\n\n

Scarlett Johansson delivers her best onscreen performance to date while Thomasin McKenzie further delivers on the promise she previously displayed in Leave No Trace<\/em>. Davis and Archie Yates deliver two of the most naturalistically believable child performances ever to take place before a camera.<\/p>\n\n\n\n

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

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Nicolas Cage in Kill Chain<\/figcaption><\/figure>\n\n\n\n

Kill Chain<\/strong><\/p>\n\n\n\n

Writer\/director Ken Sanzel\u2019s gritty little Nicolas Cage-featuring (not quite starring) thriller is a surprising discovery to come across. Fully shaded characters, compelling plot twists, and intense action scenes will keep you engaged from start to finish. Though it\u2019s sometimes difficult to keep up with the crowded narrative, the film still significantly stands apart from other straight-to-VOD thrillers.<\/p>\n\n\n\n

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

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Robert Pattinson in The King<\/figcaption><\/figure>\n\n\n\n

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

From a technical standpoint, The King<\/em> is just about flawless. It boasts beautiful cinematography, impeccably detailed set and costume designs, intelligent writing, and dedicatedly immersive performances. However, for all the artistry and talent involved, nothing can hide the fact that this retelling of the rise of King Henry V is tired, stale, and relatively flat. Rich production value is wasted with execution that lacks originality or inspiration. There isn\u2019t a shot composed, a theme explored, or a character arc portrayed in this film that hasn\u2019t already been done in countless other films before it.<\/p>\n\n\n\n

On the positive side, Timothee Chalamet carries the film with a passionate and committed lead performance, and costar Robert Pattinson gives a deliciously inspired and utterly despicable portrayal of the Dauphin of France.<\/p>\n\n\n\n

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

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Raven Whitley in Knives and Skin<\/figcaption><\/figure>\n\n\n\n

Knives and Skin<\/strong><\/p>\n\n\n\n

Writer\/director Jennifer Reeder delivers a moody, emotional, and quirky cinematic poem about a missing high school girl (Raven Whitley) and the effect her disappearance has on her small-town friends and family. Though Lynchian in nature and design with dashes of Refn, Donnie Darko, <\/em>and Heathers <\/em>mixed in, the film is, ultimately, a wholly original experience that is intelligently aware of its own strangeness. Reeder delivers one of the most mysterious, nakedly vulnerable, and endearingly earnest cult films of its time.<\/p>\n\n\n\n

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

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Daniel Craig in Knives Out<\/figcaption><\/figure>\n\n\n\n

Knives Out<\/strong><\/p>\n\n\n\n

This fast, fun, and tongue-in-cheek Agatha Christie-style modern murder mystery showcases how inventive and skilled of a filmmaker writer\/director Rian Johnson (Brick, The Last Jedi<\/em>) is. Knives Out<\/em>\u2019s flawless ensemble (Ana de Armas, Jamie Lee Curtis, Don Johnson, Chris Evans, Daniel Craig, Christopher Plummer, Toni Colette, Lakeith Stanfield) enriches an intelligent and amusingly complex tale of family dysfunction, greed, and, of course, murder. An undercurrent of astute social satire that targets entitled American attitudes pushes this already clever caper towards greatness.<\/p>\n\n\n\n

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

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Mindy Kaling and Emma Thompson in Late Night<\/figcaption><\/figure>\n\n\n\n

Late Night<\/strong><\/p>\n\n\n\n

This intelligent, feel-good comedy offers a refreshing and eye-opening look at the gender and racial politics that take place behind the scenes in show business. Stars Mindy Kaling (who also wrote the screenplay) and Emma Thompson light up the screen with their impeccable timing and chemistry. In addition, it\u2019s always good to see Hannibal<\/em>\u2019s Hugh Dancy have a significant role in just about anything.<\/p>\n\n\n\n

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

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Gary Oldman and Antonio Banderas in The Laundromat<\/figcaption><\/figure>\n\n\n\n

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

Steven Soderbergh channels his inner Adam McKay with this satirical depiction of a true-life insurance fraud scheme. Soderbergh emotionally engages his audience throughout large sections of the film\u2014particularly those featuring Meryl Streep or Nonso Anozi—but he also frustratingly can\u2019t stay out of his own way. Obvious, flashy, and preachy asides only dampen the film\u2019s overall dramatic impact. The Laundromat <\/em>could have been a great film if it didn\u2019t distract us from its point by constantly patting itself on the back for being so clever.<\/p>\n\n\n\n

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

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Leaving Neverland<\/figcaption><\/figure>\n\n\n\n

Leaving Neverland<\/strong><\/p>\n\n\n\n

This two-part, four-hour documentary focuses on two grown men who now claim that Michael Jackson sexually abused them as children. Gut-wrenching and soul-crushing, the film is an important examination of child abuse as well as the abuse of power that can result from fame and fortune.<\/p>\n\n\n\n

Though Jackson\u2019s accusers have faced a great deal of scrutiny, it\u2019s very difficult not to believe their testimonies. The accounts from each participant are too similar, too emotionally complex, and far too specific to be vindictive defamations of character for personal gain. Those who still worship Jackson are unable to accept the image of him as a highly talented but deeply flawed human being. Leaving Neverland <\/em>seeks to end the myth that allowed the events described in the film to occur in the first place.<\/p>\n\n\n\n

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

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Willem Dafoe and Robert Pattinson in The Lighthouse<\/figcaption><\/figure>\n\n\n\n

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

Robert Eggers\u2019 uniquely unsettling character drama\/psychological horror\/mood piece is an expertly executed and impeccably acted (by stars Robert Pattinson and Willem Dafoe) cinematic experience.<\/p>\n\n\n\n

It is a tale full of sound and fury, for sure, exploring the themes and ramifications of loneliness, isolation, and madness. It\u2019s just not entirely clear why the audience should care about any of it. Seemingly existing to stylishly build to an intentionally cold and ambiguous conclusion, The Lighthouse <\/em>ultimately falls a bit short of greatness by favoring artistic ambition over human relatability.<\/p>\n\n\n\n

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

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Anna Pniowsky and Casey Affleck in Light of My Life<\/figcaption><\/figure>\n\n\n\n

Light of My Life<\/strong><\/p>\n\n\n\n

Writer\/director\/star Casey Affleck delivers an intense, moving, and innovative character drama about a father (Affleck) who has to protect his daughter (Anna Pniowsky) while traveling in a future where women are obsolete. Aflleck\u2019s direction is classy, assured, and subdued, his writing is vulnerable and heartfelt, and his performance is as committed and natural as ever. Pniowsky offers fantastic support and delivers one of the strongest child performances of its decade.<\/p>\n\n\n\n

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

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Crispin Glover in Lucky Day<\/figcaption><\/figure>\n\n\n\n

Lucky Day<\/strong><\/p>\n\n\n\n

Pulp Fiction<\/em> co-writer Roger Avary\u2019s return to the director\u2019s chair after his fifteen-plus-year hiatus is an overall chaotically charming effort. The first half of Lucky Day <\/em>teeters so far towards obnoxiousness with its overly aware hipness and flashy violence that the satiric intelligence of its second half can\u2019t entirely salvage it–though it does come close. Crispin Glover gives a wonderfully bizarre performance as a clinically insane hitman hell-bent on revenge.<\/p>\n\n\n\n

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

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Octavia Spencer in Ma<\/figcaption><\/figure>\n\n\n\n

Ma<\/strong><\/p>\n\n\n\n

Octavia Spencer breaks new ground for herself as a mentally unstable middle-aged woman who starts supplying alcohol to teenagers for their gratitude and company in Ma. <\/em>Spencer soon becomes dangerous, however, and the film dives into some rather effective (though familiar) psychological thriller territory. Director Tate Taylor has an intelligently restrained approach to the material, not to mention a fantastic eye for inventive camera angles. His execution gives the film a unique and painfully human flavor, even as it slips further and further into a standard slasher horror formula by the time it reaches its climax. <\/p>\n\n\n\n

Spencer helps elevate the film to a higher realm of psychological drama and terror. She is a complex villain, one who preys on our empathy just enough to mess with our minds before she makes us squirm in our seats. Juliette Lewis is equally compelling in a supporting role as one of the teenagers\u2019 increasingly concerned single mother.<\/p>\n\n\n\n

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

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Sam Elliot in The Man Who Killed Hitler and then Bigfoot<\/figcaption><\/figure>\n\n\n\n

The Man Who Killed Hitler and then Bigfoot<\/strong><\/p>\n\n\n\n

The Man Who Killed Hitler and then Bigfoot <\/em>is a surprisingly heartfelt, somber, and character-driven film that is more a meditation on loss and aging than it is the corny, b-level camp fest its title suggests. Sam Elliot plays a celebrated veteran who secretly killed Adolf Hitler during WWII, He is then recruited in the present day to hunt down a disease-spreading Bigfoot.<\/p>\n\n\n\n

Though the film is a tad uneven and suffers from a sluggish pace in sections, it still succeeds on multiple levels. Elliot\u2019s quiet integrity and wholehearted commitment to the material keep the film grounded in reality. Writer-director Robert D. Krzykowski avoids the temptation of dwelling too heavily on the story\u2019s more outlandish qualities. He lets all of its elements exist equally (though some are more successful than others), opening the door to a wealth of strong ideas and emotions that sneak up on the viewer in many memorable ways.<\/p>\n\n\n\n

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

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Scarlet Johansson and Adam Driver in A Marriage Story<\/figcaption><\/figure>\n\n\n\n

A Marriage Story<\/strong><\/p>\n\n\n\n

Writer\/director Noah Baumbach\u2019s film is an emotionally wrenching experience that presents a simultaneously hopeful and scaldingly painful examination of divorce. Scarlett Johansson and Adam Driver both excel in lead performances, though the emotional realities of their characters would have been better suited for actors at least a decade older. Laura Dern stands out as a charismatic and ruthlessly, comically vicious divorce attorney.<\/p>\n\n\n\n

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

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Tessa Thomspon and company in Men in Black: International<\/figcaption><\/figure>\n\n\n\n

Men in Black: International<\/strong><\/p>\n\n\n\n

Another tired and stale franchise nobody seems to care about anymore is given yet another reboot with this underwhelming effort. Despite its noteworthy cast (Liam Neeson, Chris Hemsworth, Tessa Thompson, Emma Thompson, Kumail Nanjiani), the humor is mostly forced, the story is flat, and not much happens onscreen that justifies the film\u2019s existence.<\/p>\n\n\n\n

Men in Black: International <\/em>is a waste of time, money, and talent. It does manage to pick up steam, however, and be mildly entertaining by the time it reaches its humorous (thanks in large part to Nanjiani\u2019s vocal talents) and inventive climax.<\/p>\n\n\n\n

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

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Florence Pugh and Jack Reynor in Midsommar<\/figcaption><\/figure>\n\n\n\n

Midsommar<\/strong><\/p>\n\n\n\n

Ari Aster\u2019s follow-up to Hereditary <\/em>centers on a young couple\u2019s (Florence Pugh and Jack Reynor) horrific misadventures with a Swedish pagan cult. While the film is an ingenious exercise in mood and atmosphere, it is also a frustrating example of how even the most brilliant and innovative filmmaking techniques can\u2019t cover up a sometimes-lazily written screenplay. As effective and unsettling as it often is, Midsommar<\/em> is ultimately a brilliant build-up to something that isn\u2019t particularly special or inspired.<\/p>\n\n\n\n

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

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Edward Norton in Motherless Brooklyn<\/figcaption><\/figure>\n\n\n\n

Motherless Brooklyn<\/strong><\/p>\n\n\n\n

Writer (adapted from the novel by Jonathan Lethem)\/director\/star Edward Norton\u2019s self-proclaimed magnum opus is an ambitious and finely executed effort. The 1950s-set thriller\/drama\/noir is socially aware, classically paced, and contains excellent performances all-around. Unfortunately, the film also comes off as a self-indulgent passion project that lacks objectivity. It appears as if Norton didn\u2019t want to let go of anything in the editing room, as the film increasingly loses focus in its second half. \u00a0Norton\u2019s passion and talent are hard to ignore, however, even when they obviously need a little outside perspective to guide them.<\/p>\n\n\n\n

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

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John Cusack in Never Grow Old<\/figcaption><\/figure>\n\n\n\n

Never Grow Old<\/strong><\/p>\n\n\n\n

This somber Western from writer\/director Ivan Kavanagh serves as an intense drama and as a sociological study of what occurs when temptation enters any population. Emile Hirsch stars as a well-intentioned undertaker who profits when brutal bounty hunters (lead by John Cusack) take over his town and re-instate it with gambling, liquor, and prostitution.<\/p>\n\n\n\n

A great cast, solid filmmaking, and a thoughtful script make for an emotionally and intellectually stimulating film. Not exactly exciting, the film could have benefited from a tighter pace and a bit more action (most of which is saved for its last act).  That doesn\u2019t prevent Never Grow Old<\/em> from being worthwhile and original, however, as it is not, by any means, a typical Western.<\/p>\n\n\n\n

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

\"\"
Anna Kendrick in Noelle<\/figcaption><\/figure>\n\n\n\n

Noelle<\/strong><\/p>\n\n\n\n

Bill Hader, Anna Kendrick, and Shirley MacLaine are their usual lovable selves in this made-for-Disney+ feature about Santa\u2019s daughter (Kendrick) taking over the family business. The movie is clever and cute, with a timely and moving message about female empowerment in male-dominated workforces. Though intended for the small screen, Noelle <\/em>contains a spark of freshness and originality that is largely lacking from some of Disney\u2019s bigger theatrical efforts.<\/p>\n\n\n\n

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

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Brad Pitt and Leonardo DiCaprio in Once Upon a Time in Hollywood<\/figcaption><\/figure>\n\n\n\n

Once Upon a Time in Hollywood<\/strong><\/p>\n\n\n\n

This is the most thrilling and pure film that Quentin Tarantino has created since the 90s. It\u2019s the first film the pop auteur has delivered since Jackie Brown<\/em> that feels like it came from his heart rather than a fan-\/critic-\/studio-\/self-imposed obligation to unleash yet another self-aware, monologue-filled, hyper-violent, reference-laden QUENTIN TARANTINO FILM<\/em>.<\/p>\n\n\n\n

Real characters, great performances, and loose, organic writing make for a human and relatable fairy tale that finally showcases the growth (while still celebrating the above-mentioned qualities) of one of the industry\u2019s most talented\u2014yet charmingly stunted\u2014filmmakers of our time.<\/p>\n\n\n\n

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

\"\"
Cho Yeo Jeong in Parasite<\/figcaption><\/figure>\n\n\n\n

Parasite<\/strong><\/p>\n\n\n\n

Bong Joon-ho delivers yet another masterwork with this South Korean social class satire. Parasite<\/em> is scathingly funny, ruthlessly spot-on, and shockingly violent. Joon-ho\u2019s use of genre techniques snares the audience\u2019s attention with entertainment value, then makes it impossible to look away when his unsettling point is driven home in a beautifully executed and tragically uncompromising climax.<\/p>\n\n\n\n

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

\"\"
Zack Gottsagen and Shia LaBeouf in The Peanut Butter Falcon<\/figcaption><\/figure>\n\n\n\n

Peanut Butter Falcon<\/strong><\/p>\n\n\n\n

A young man with Down syndrome (Zach Gottsagen) escapes from his nursing home to pursue his dreams of attending a professional wrestling school. While on the road, he befriends a brash traveler (Shia LaBeouf) who decides to help him reach his destination.<\/p>\n\n\n\n

There hasn\u2019t been such an earnestly sweet, sturdily grounded, and artistically executed film since David Lynch\u2019s The Straight Story. <\/em>Gottsagen, LaBeouf, and Dakota Jonson all deliver effortless, committed, and lifelike performances. A truly endearing surprise, The Peanut Butter Falcon<\/em> manages to open your eyes without preaching and make you feel good without hating yourself for it.<\/p>\n\n\n\n

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

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Logan Browning and Allison Williams in The Perfection<\/figcaption><\/figure>\n\n\n\n

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

A former child prodigy (Allison Williams) returns to her music school and soon begins to form a deep bond with the university\u2019s current girl-in-demand (Logan Browning). From there, things get dark, depraved, and twisted in the most beautiful and shocking of ways.<\/p>\n\n\n\n

Williams and Browning deliver star-making performances, both flawless in their painful, emotionally volatile depictions of female rage. Co-writer\/director Richard Shepard expertly lets the events of the film unravel in a fresh and unpredictable manner until they all come together, both structurally and thematically, in The Perfection\u2019<\/em>sgrotesquely gorgeous final frames.<\/p>\n\n\n\n

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

\"\"
John Lithgow in Pet Semetary<\/figcaption><\/figure>\n\n\n\n

Pet Semetary<\/strong><\/p>\n\n\n\n

A young family (headed by Jason Clarke and Amy Seimetz) moves to Maine and soon discovers their new house is on the border of a bizarre burial ground for pets. When tragedy strikes the family, a well-meaning neighbor (the always great John Lithgow) explains that the pet cemetery might just have otherworldly powers that can help them.<\/p>\n\n\n\n

This Stephen King adaptation (and remake) does a great job at making you feel uncomfortable, unsettled, and downright icky. However, it only partially succeeds at presenting an involving story or fully developed characters. While there is a great deal of potential to the premise, the film makes the mistake of settling more on easy shock scares than cerebral horror that truly leaves a mark.<\/p>\n\n\n\n

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

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Mads Mikkelsen in Polar<\/figcaption><\/figure>\n\n\n\n

Polar<\/strong><\/p>\n\n\n\n

Mads Mikkelsen stars as an assassin nearing retirement. His former employer decides they can save money by killing him rather than paying him off, but their attempt fails and all forms of comic book movie mayhem ensue. Based on the graphic novel by Victor Santos, Polar <\/em>is a hyper-violent and excessively stylized comic book actioner along the lines of Sin City <\/em>and Kick-Ass<\/em>. It works as a bloody and brainless good time, but it falters with an occasional mean-spirited nature that spoils the fun with bouts of thoughtless and cruel sadism.<\/p>\n\n\n\n

Mikkelson is great as always. His disciplined and quietly focused presence serves the character and the film well. The highly talented Vanessa Hudgens offers excellent support as a neighbor who gets caught up in the violence of Mikkelson\u2019s life. The film has some intelligent and thoughtful character arcs\u2014primarily revealed at its end\u2014but they are somewhat drowned out by the sometimes obnoxious and unrelentingly aggressive style that dominates its tone. Polar <\/em>is a colorful and bloody film whose entertainment value is hampered when it dwells on moments of downright ugliness.<\/p>\n\n\n\n

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

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Nicolas Cage in Primal<\/figcaption><\/figure>\n\n\n\n

Primal<\/strong><\/p>\n\n\n\n

It\u2019s Con Air Goes Safari! <\/em>in this ridiculous, though highly enjoyable, Nicolas Cage-starring actioner. Cage portrays a safari hunter whose game collection is set loose on a transport ship while at sea. He also has to elude the escaped and deranged killer (Kevin Durand) who freed them. The movie writes itself from there. Budget limitations prevent any hope of the audience taking what follows seriously, but they don\u2019t take away from the charm that makes Primal<\/em> so utterly amusing.<\/p>\n\n\n\n

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

\"\"
Jodie Turner-Smith and Daniel Kaluuya in Queen & Slim<\/figcaption><\/figure>\n\n\n\n

Queen & Slim<\/strong><\/p>\n\n\n\n

This modernized, racially charged Bonnie and Clyde-<\/em>like fable is an intense and mesmerizing achievement. Director Malina Matsoukas showcases a wonderful ability to effortlessly balance character, atmosphere, and story. Daniel Kaluuya is predictably brilliant, and Jodie Turner-Smith shines in a breakout performance that is certain to earn her space on movie screens in the years to come.<\/p>\n\n\n\n

The film\u2019s only fault is that it slightly over-stays its welcome in its final act, as it seems to be more concerned with creating its own legacy than wrapping itself up in the most efficient manner possible.<\/p>\n\n\n\n

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

\"\"
Betty White in Rambo: Last Blood<\/figcaption><\/figure>\n\n\n\n

Rambo: Last Blood<\/strong><\/p>\n\n\n\n

Sylvester Stallone returns as everyone\u2019s favorite, mentally scarred Vietnam War veteran who upholds American values through testosterone-fueled violence. Though the movie is sometimes overwhelmingly dark, it\u2019s still very difficult not to be won over by an aging Rambo as he single-handedly takes on an army of sex traffickers in the bloodiest, most brutal, and most imaginative ways possible. What\u2019s not to like?<\/p>\n\n\n\n

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

\"\"
Samara Weaving in Ready or Not<\/figcaption><\/figure>\n\n\n\n

Ready or Not<\/strong><\/p>\n\n\n\n

The always-watchable and endlessly talented Samra Weaving stars as a new bride who is forced to play a deadly game of hide and seek with her rich, devil-worshipping in-laws. Part horror film, part thriller, and part pitch-black comedy, this film is a depraved blast from beginning to end. Ready or Not <\/em>is a thrilling, unpredictable, and genre-bending film that is destined to find a specific but sizable cult of fans.<\/p>\n\n\n\n

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

\"\"
Adam Driver in The Report<\/figcaption><\/figure>\n\n\n\n

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

Adam Driver further proves himself as a leading man in this tense political drama about Daniel J. Jones\u2014a Senate staffer who investigated the CIA\u2019s use of torture during interrogations post 9\/11. Though the film isn\u2019t exactly exciting, writer\/director Scott Z. Burns impressively keeps the viewer engaged in its political observations without any flash, manipulation, or trickery. He simply relies on the strength of his script and his cast (Driver, Annette Benning, Michael C. Hall, Jon Hamm), and allows the audience to come to their own conclusions.<\/p>\n\n\n\n

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

\"\"
Laurence Fishburne and Nicolas Cage in Running With the Devil<\/figcaption><\/figure>\n\n\n\n

Running With The Devil<\/strong><\/p>\n\n\n\n

This lean, mean, and dirty little thriller manages to suck its viewers in with involving, shocking, and intricately detailed facts about the drug trade. However, it also falls a bit flat with an over-ambitious and hard-to-follow storyline. Though solid, the film doesn\u2019t quite reach the heights it aspires to. Nicolas Cage and Laurence Fishburne breathe life and humanity into this uncompromisingly brutal and overall effective film.<\/p>\n\n\n\n

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

\"\"
Scary Stories to Tell in the Dark<\/figcaption><\/figure>\n\n\n\n

Scary Stories to Tell in the Dark<\/strong><\/p>\n\n\n\n

This sixties-set, kid-friendly horror flick is a fun, nostalgic, and icky adaptation of the popular book series by Alvin Schwartz. Suspenseful and creepy, the film makes being afraid fun, not traumatizing. It leaves a playful mark without creating a scar, making us jump in the moment without ruining our sleep for the night.<\/p>\n\n\n\n

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

\"\"
Nicolas Cage in A Score to Settle<\/figcaption><\/figure>\n\n\n\n

A Score to Settle<\/strong><\/p>\n\n\n\n

This surprisingly moving dramatic thriller starring Nicolas Cage is another small-budget win for the risk-seeking actor. Cage plays a recently released prison inmate who suffers from a terminal form of insomnia. His end-of-life plans to exact revenge on his disloyal cohorts are interrupted by a newfound relationship with his estranged and troubled son (Noah Le Gros).<\/p>\n\n\n\n

Though, at times, a tad clumsy in its execution, the film is aided by a strong screenplay written by director Shawn Ku and John Stuart Newman and by great performances from Cage and Le Gros. A Score to Settle <\/em>is a thoughtful film with clearly defined characters that satisfyingly entertains and enlightens in equal measures.<\/p>\n\n\n\n

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

\"\"
Jesse T. Usher, Samuel L. Jackson, and Richard Roundtree in Shaft<\/figcaption><\/figure>\n\n\n\n

Shaft<\/strong><\/p>\n\n\n\n

This reboot\/sequel to the classic Blaxploitation movies is overall amusing, but it doesn\u2019t pick up full steam until its last thirty minutes. Portraying three generations of the Shaft family, Jessie T. Usher, Samuel L. Jackson, and Richard Roundtree share a great and lively chemistry that ultimately makes the movie modestly worthwhile. While nothing spectacular, Shaft <\/em>is entertaining enough to get the job done.<\/p>\n\n\n\n

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

\"\"
Tom Holland in Spider-Man: Far From Home<\/figcaption><\/figure>\n\n\n\n

Spider-Man: Far From Home<\/strong><\/p>\n\n\n\n

This sturdy and well-made Marvel entry gets the job done, but also fails to deliver anything spectacular or worthy enough of its own feature movie. Tom Holland is as likable as ever, but the story is a bit bland and underwhelming, feeling more like an episode of a somewhat tired television series than it does an epic cinematic experience.<\/p>\n\n\n\n

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

\"\"
Dave Bautista and Kumail Nanjiani in Stuber<\/figcaption><\/figure>\n\n\n\n

Stuber<\/strong><\/p>\n\n\n\n

A down-on-his-luck Uber driver (Kumail Nanjiani) is forced to assist a detective (Dave Bautista) during a non-stop evening of danger, chases, and fights.<\/p>\n\n\n\n

This rapidly-paced action-comedy delivers laughs and thrills in all the right places. Dave Bautista and Kumail Nanjiani exhibit a natural and playful chemistry that always manages to keep the audience connected to the movie\u2019s intentionally absurd and gleefully nonsensical events. Stuber<\/em> is well-executed and highly entertaining popcorn entertainment.<\/p>\n\n\n\n

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

\"\"
Elle Fanning in Teen Spirit<\/figcaption><\/figure>\n\n\n\n

Teen Spirit<\/strong><\/p>\n\n\n\n

A formulaic rags-to-riches story is elevated to greater heights in the hands of writer-director Max Minghella. A small-town girl (played by Elle Fanning with sincerity, passion, and determination) rises in the ranks of an American Idol<\/em>-like singing contest. She is aided by her hard-drinking, surprisingly wise, and self-appointed mentor (Zlatko Buric, whose worn presence is one of the film\u2019s most memorable attributes).<\/p>\n\n\n\n

Minghella\u2019s ferocious filmmaking (aided by Matt Waites\u2019 highly innovative sound design) throws you into the tension, thrills, and confusion of Fanning\u2019s roller-coaster journey.\u00a0 While his script lacks originality, he more than makes up for it as a director with artistically risky choices that surprisingly and repeatedly pay off.<\/p>\n\n\n\n

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

\"\"
Linda Hamilton in Terminator: Dark Fate<\/figcaption><\/figure>\n\n\n\n

Terminator: Dark Fate<\/strong><\/p>\n\n\n\n

Come on, guys! You had James Cameron and Linda Hamilton returning to the franchise in some capacity. You were wiping the slate clean for everything that came after T2<\/em>! This was your chance! Why, WHY did you decide to simply retread ground already well covered and essentially do a \u201cbest of\u201d compilation of the three sequels you discarded? Why did you immediately make the same mistake that Alien 3 <\/em>made almost thirty years prior and proved very well should never be made again?! Why did you waste Mackenzie Davis\u2019, Tim Miller\u2019s, Cameron\u2019s, and Hamilton\u2019s talents? Why didn\u2019t you focus on the best part of the story, the one featuring Arnold Schwarzenegger?! Wasn\u2019t that, at least, obvious?! Why did you make the best aspects of the film afterthoughts and spend screen time on a new protagonist who has no personality or character whatsoever? Guys, I just don\u2019t understand\u2026? WHY?!<\/p>\n\n\n\n

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

\"\"
Woody returns in Toy Story 4<\/figcaption><\/figure>\n\n\n\n

Toy Story 4<\/strong><\/p>\n\n\n\n

The talking toys return in Pixar\u2019s fourth entry to their beloved franchise. While it is one of the most unnecessary sequels in movie history, Toy Story 4 <\/em>still manages to be one of the most inventive and endearing. What should have been a soul-less, money-grubbing studio endeavor is saved by the movie\u2019s enlightening and fulfilling theme of letting childhood go and allowing oneself to move on to the next phase of life\u2019s adventures.<\/p>\n\n\n\n

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

\"\"
Garrett Hedlund, Oscar Isaac, Charlie Hunnam, and Ben Affleck in Triple Frontier<\/figcaption><\/figure>\n\n\n\n

Triple Frontier<\/strong><\/p>\n\n\n\n

Five retired Special Forces operatives (Oscar Isaac, Ben Affleck, Charlie Hunnam, Garrett Hedlund, and Pedro Pascal) reunite to steal hundreds of millions of dollars from a drug lord. Since there wouldn\u2019t be a movie in it any other way, things go terribly, terribly wrong and violent mayhem ensues.<\/p>\n\n\n\n

It is obvious that co-writer\/director J.C. Chandor had grand aspirations with Triple Frontier<\/em>. The characters are well defined and complex, the ensemble cast is flawless, and there are some truly thrilling set pieces on display throughout. However, the film\u2019s overall impact is dampened because it can\u2019t fully decide if it wants to be taken seriously or if it wants to be an escapist, high-octane, and multi-bromance action\/thriller. A solid effort with many positive attributes, Triple Frontier <\/em>is a thinking man\u2019s action movie, but one that never finds complete harmony with its thought and its action.<\/p>\n\n\n\n

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

\"\"
Adam Sandler in Uncut Gems<\/figcaption><\/figure>\n\n\n\n

Uncut Gems<\/strong><\/p>\n\n\n\n

This high-energy modern noir\/dark comedy from directors Benny and Josh Safdie is a brilliant exercise in tension to the extent that it\u2019s basically anxiety porn. Adam Sandler flies off the screen with the greatest performance of his career as an obnoxious and despicable New York jewel dealer\/hustler\/gambling addict\/compulsive adulterer who gets in over his head and has to suffer the consequences\u2026 over and over again.<\/p>\n\n\n\n

Uncut Gems<\/em> unravels with a searing momentum that makes it as wholly entrancing as it is almost unbearably nerve-wracking.<\/p>\n\n\n\n

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

\"\"
Saumel L. Jackson and Brie Larson in Unicorn Store<\/figcaption><\/figure>\n\n\n\n

Unicorn Store<\/strong><\/p>\n\n\n\n

Brie Larson\u2019s directorial debut is a whimsical, quirky, and highly entertaining adult fantasy about a grown woman (Larson) who decides to purchase a unicorn from a mysterious vendor (Samuel L. Jackson).<\/p>\n\n\n\n

Heartfelt and unique, Unicorn Store <\/em>feels like a simple (perhaps overly so) 80s comedy with light touches of Burton and Fellini. It is a moving and entertaining fable about staying in touch with your inner child while simultaneously letting her go. Larson shows a great deal of promise behind the camera.<\/p>\n\n\n\n

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

\"\"
Lupita Nyong’o, Shahadi Wright Joseph, and Evan Alex in Us<\/figcaption><\/figure>\n\n\n\n

Us<\/strong><\/p>\n\n\n\n

Writer\/director Jordan Peele\u2019s follow-up to Get Out <\/em>centers on a family (Lupita Nyong\u2019o, Winston Duke, Shahadi Wright Joseph, Evan Alex) whose vacation in Santa Cruz is interrupted by parallel (and extremely violent) versions of themselves. The ingenuity of the premise is executed with some fantastic suspense and atmosphere, and the strength of the flawless cast propels the film past any horror genre shortcomings.<\/p>\n\n\n\n

However, Us<\/em> falls slightly short in its final act with an in-depth reveal of the story\u2019s details and mystery. This information makes everything far too specific to be terrifying. While the film\u2019s satire and social commentary are clear and appropriately thought-provoking, its story suffers from a serious case of over-explanation. In spite of these flaws, Us<\/em> still manages to be an effective and original horror movie that is worthy of its cast and Peele\u2019s extreme talents.<\/p>\n\n\n\n

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

\"\"
Toni Colette and Jake Gyllenhaal in Velvet Buzzsaw<\/figcaption><\/figure>\n\n\n\n

Velvet Buzzsaw<\/strong><\/p>\n\n\n\n

An art gallery assistant (Zawe Ashton) in Miami Beach discovers some unique and disturbing artwork in her dead neighbor\u2019s apartment. Her boss (a wonderfully callous Rene Russo) and an ambitious critic (a quirky and loose Jake Gyllenhaal) decide this could be their claim to fame and fortune. The only problem is that the artwork seems to be damned and starts causing the deaths of those who come into contact with it.<\/p>\n\n\n\n

A fun and satirical horror premise is stretched thin by the talented writer\/director Dan Gilroy. The film grows tired and redundant in its second half, and the story never justifies the film\u2019s feature length. Velvet Buzzsaw<\/em>\u2019s premise would have been better utilized as a half-hour episode of The Twilight Zone <\/em>or Tales From Crypt, <\/em>where it could have made its point and exhibited its ingenuity without lingering and overstaying its welcome.<\/p>\n\n\n\n

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

\"\"
Lily James and Himesh Patel in Yesterday<\/figcaption><\/figure>\n\n\n\n

Yesterday<\/strong><\/p>\n\n\n\n

A very subdued Danny Boyle delivers a charming and clever comedy where everyone but one struggling musician (Himesh Patel) forgets that The Beatles ever existed. The film has plenty of great character moments and some clever fan references, but the story lacks the proper dramatic weight or conflict to keep the full attention of anyone but the hardest of hardcore Beatles fanatics. Yesterday <\/em>has an interesting premise that doesn\u2019t fully know how to work as a movie.<\/p>\n\n\n\n

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

\"\"
Zoey Deutch, Emma Stone, Jesse Eisenberg, and Woody Harrelson in Zombieland: Double Tap<\/figcaption><\/figure>\n\n\n\n

Zombieland: Double Tap<\/strong><\/p>\n\n\n\n

One of the fastest and funniest horror comedies of its time gets the sequel it deserves with Zombieland: Double Tap.<\/em> The film is a continuation of the same flamboyant style and comedic wit that made the first Zombieland <\/em>as beloved as it is.<\/p>\n\n\n\n

Returning cast members Woody Harrelson, Jesse Eisenberg, Emma Stone, and Abigail Bretch exhibit a relaxed, playful, and familial chemistry that makes this zombie flick so endearingly human at heart. New cast member Zoey Deutch, however, steals the show with a fantastically committed and comically golden portrayal of a complete airhead.<\/p>\n\n\n\n

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

3 From Hell Rob Zombie\u2019s return to the Firefly clan contains flashes of the depraved inspiration that made the previous films in this trilogy–House of 1000 Corpses and The Devil\u2019s Rejects–such grisly and renowned cult classics. Such flashes are disappointingly (and quite sadly) far and few between, however. In spite of a promising first act, […]<\/p>\n","protected":false},"author":2,"featured_media":1724,"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-1361","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\/1361","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=1361"}],"version-history":[{"count":15,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1361\/revisions"}],"predecessor-version":[{"id":3191,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1361\/revisions\/3191"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media\/1724"}],"wp:attachment":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media?parent=1361"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/categories?post=1361"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/tags?post=1361"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}