{"id":2153,"date":"2020-12-27T18:50:22","date_gmt":"2020-12-27T18:50:22","guid":{"rendered":"http:\/\/otherpeoplesmovies.com\/?p=2153"},"modified":"2022-07-15T14:00:44","modified_gmt":"2022-07-15T14:00:44","slug":"review-roundup-2020","status":"publish","type":"post","link":"https:\/\/otherpeoplesmovies.com\/index.php\/2020\/12\/27\/review-roundup-2020\/","title":{"rendered":"REVIEW ROUNDUP: 2020 Releases"},"content":{"rendered":"\n
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Angela Bettis in 12 Hour Shift<\/figcaption><\/figure>\n\n\n\n

12 Hour Shift<\/strong><\/p>\n\n\n\n

Writer\/director Brea Grant\u2019s dark comedy\/satire on the healthcare industry is a manic joyride full of shocking twists and turns. Angela Bettis stars as a nurse who makes extra money by illegally selling organs, and her schemes eventually catch up with her during the course of one extremely unlucky evening. Unpredictable and chaotic, the film offers a hilarious and terrifying look at what just might be going on behind the scenes of your local hospital.<\/p>\n\n\n\n

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

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Yoo Ah-in in #Alive<\/figcaption><\/figure>\n\n\n\n

#Alive<\/strong><\/p>\n\n\n\n

This South Korean horror\/thriller follows a lone survivor of a zombie apocalypse (an excellent Yoo Ah-in) as he fends for himself while barricaded inside his apartment. #Alive <\/em>is an intense and suspenseful film with some effectively thrilling and horrific moments. It is balanced by likable, relatable, and well-defined characters who provide a grounded humanity to the monstrous storyline. This is a film that knows what it wants to accomplish and does so with precision, skill, and enormous heart.<\/p>\n\n\n\n

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

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Mads Mikkelsen in Another Round<\/figcaption><\/figure>\n\n\n\n

Another Round<\/strong><\/p>\n\n\n\n

This Oscar-winning Danish entry isn\u2019t quite the masterpiece word-of-mouth suggests it is. The film\u2019s flawless cast (lead by the great, one and only Mads Mikkelsen) is the best thing about it.<\/p>\n\n\n\n

Another Round <\/em>centers on a group of middle-aged men who decide that life would be more gratifying if they were drunk all the time. Though it is plenty charming and vivacious, the film is ultimately as aimless as a drunken day spent at the beach. Spending two hours witnessing grown men drunkenly make fools of themselves while waxing poetic about their youths, philosophies, and disappointments only grows increasingly tedious. It might be an eye-opener for anyone who hasn\u2019t spent time in an actual bar but, for everyone else, it\u2019s a bit obvious and pointless.<\/p>\n\n\n\n

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

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Clark Duke and Liam Hemsworth in Arkansas<\/figcaption><\/figure>\n\n\n\n

Arkansas<\/strong><\/p>\n\n\n\n

Director\/co-writer (adapted from John Brandon\u2019s novel)\/costar Clark Duke (who previously appeared in Kick-Ass<\/em> and The Office<\/em>) makes a solid feature debut behind the camera with this darkly funny modern noir. Though the film plays like an homage to John Dahl and the early work of the Coen Brothers, it also manages to find its own voice. The stellar ensemble cast also features Liam Hemsworth, Vivica A. Fox, Vince Vaughn, and John Malkovich in some of the freest and most playful performances of their careers.<\/p>\n\n\n\n

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

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Jessica Chastain in Ava<\/figcaption><\/figure>\n\n\n\n

Ava<\/strong><\/p>\n\n\n\n

Jessica Chastain stars as an assassin who has to fight for her life after her bosses decide to terminate her for breaking protocol on her assignments. We\u2019ve seen variations of this story told many times before, but Ava <\/em>works in spite of that because of the care it takes in developing its characters and their relationships. Chastain (along with co-stars John Malkovich, Geena Davis, and Colin Farrell) breathes life into the familiar material with a performance that focuses on true-to-life reactions rather than clich\u00e9d action movie posturing. Director Tate Taylor does a terrific job of balancing carefully staged action sequences with moments of identifiable humanity.<\/p>\n\n\n\n

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

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Andrew Bachelor, Bella Thorne, and Robbie Amell in Babysitter: Killer Queen<\/figcaption><\/figure>\n\n\n\n

The Babysitter: Killer Queen<\/strong><\/p>\n\n\n\n

This sequel to 2017\u2019s The Babysitter<\/em> captures the stylish mayhem of its predecessor, but it also suffers from a storyline that gets a little too complex and ambitious for its own good. Killer Queen<\/em> rehashes the first film\u2019s best moments in true sequel fashion and enhances them just enough for the film to be entertainingly worthwhile. The surprises and the simplicity are gone, but the heart and chaotic spirit are still charmingly there.<\/p>\n\n\n\n

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

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Eliza Scanlen and Toby Wallace in Babyteeth<\/figcaption><\/figure>\n\n\n\n

Babyteeth<\/strong><\/p>\n\n\n\n

A terminally ill teenager (Eliza Scanlen) falls in love with a troubled addict in his early twenties (Toby Wallace). The pacing sometimes drags (the film runs at least fifteen minutes too long), but the overall power of the story manages to persevere in an effectively heartbreaking manner. Scanlen and Wallace both deliver devastating and naturalistic performances, and the docu-realistic style of the film makes their struggles all the more tangible. Ben Mendelsohn and Essie Davis are both excellent as Scanlen\u2019s suffering and loving parents.<\/p>\n\n\n\n

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

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Martin Lawrence and Will Smith in Bad Boys for Life<\/figcaption><\/figure>\n\n\n\n

Bad Boys for Life<\/strong><\/p>\n\n\n\n

The return of Will Smith and Martin Lawrence in their iconic buddy cop roles is a mostly fun, funny romp with some expertly staged action sequences (courtesy of directors Adil El Arbi and Bilall Fallah). The film takes itself a tad too seriously in its final act, however, with a rather somber plot twist that feels out of tune with the rest of the film and its predecessors. The movie is still plenty entertaining, however, and shouldn\u2019t disappoint fans of the franchise.<\/p>\n\n\n\n

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

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Margot Robbie in Birds of Prety<\/figcaption><\/figure>\n\n\n\n

Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn<\/strong><\/p>\n\n\n\n

The DCEU has been struggling to find its footing. Birds of Prey<\/em>, though colorful and mildly entertaining, is proof of that. Margot Robbie is at home as Harley Quinn, and Ewan McGregor has infectious fun with his role as the villainous Black Mask, but they can\u2019t save a messy script from its overall aimless narrative.<\/p>\n\n\n\n

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

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Aubrey Plaza in Black Bear<\/figcaption><\/figure>\n\n\n\n

Black Bear<\/strong><\/p>\n\n\n\n

An emotionally distant filmmaker with writer\u2019s block (Aubrey Plaza) stays at a woodland B&B that is owned by a bickering couple (Sarah Gadon and Christopher Abbott). What happens from there is open to interpretation, and it shouldn\u2019t be spoiled here. Black Bear <\/em>is a challenging movie that prides itself in keeping its viewers guessing about the specifics of its story and its overall meaning. What is real or imagined is intentionally vague, but writer\/director Lawrence Michael Levine provides just enough relatable humanity to keep the film grounded in emotional reality. <\/p>\n\n\n\n

Plaza\u2019s performance starts off as an exhibition of her endearing dryness but eventually evolves into something painfully raw, intense, and unlike anything we\u2019ve previously seen her do.<\/p>\n\n\n\n

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

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Vin Diesel in Bloodshot<\/figcaption><\/figure>\n\n\n\n

Bloodshot<\/strong><\/p>\n\n\n\n

Vin Diesel does a lot of punching while falling through mid-air in this super-digital action spectacle that seems to be intent on paying homage to Zack Snyder while forgetting to tell a memorable story with enticing characters. All the busyness and carnage can\u2019t make up for a weak script or uninspired direction. Diesel far too heavily relies on his familiar screen presence and provides little more than macho posturing to a character that needed a tad more thought and humanity to be relatable.<\/p>\n\n\n\n

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

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Imogen Poots and Keir Gilchrist in Castle in the Ground<\/figcaption><\/figure>\n\n\n\n

Castle in the Ground<\/strong><\/p>\n\n\n\n

This depiction of the opioid epidemic is strikingly well-acted (Imogen Poots and Keir Gilchrist both excel in lead roles) and functionally well-crafted. Unlike many addiction-themed movies, this one focuses on the road leading to addiction rather than the extreme highs and lows experienced in the midst of it. While this angle is fascinating, the film doesn\u2019t quite know what to do with itself in order to reach its full dramatic impact. It could have been an amazing short film, but it drags out with too many inconsequential moments to fully succeed as a feature.<\/p>\n\n\n\n

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

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Kurt Russell and Goldie Hawn in The Christmas Chronicles 2<\/figcaption><\/figure>\n\n\n\n

The Christmas Chronicles 2<\/strong><\/p>\n\n\n\n

Kurt Russell and Goldie Hawn appear to be having a ball as Mr. and Mrs. Claus in this joyful and colorful sequel to Netflix\u2019s Christmastime hit. Chris Columbus (Home Alone, Mrs. Doubtfire<\/em>) takes over the directing reigns this time around, providing the film with laughs, mischief, and saccharine sweetness. This is a seriously adorable movie if you\u2019re in the mood for some unabashed holiday cheer.<\/p>\n\n\n\n

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

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Nicolas Cage and Brendan Meyer in Color Out of Space<\/figcaption><\/figure>\n\n\n\n

Color Out of Space<\/strong><\/p>\n\n\n\n

Nicolas Cage stars in this John Carpenter-esque horror film (based on an H.P. Lovecraft short story) as the father of a family whose lives are severely disrupted by a fallen meteorite in their backyard. Richard Stanley\u2019s (Hardware, Dust Devil<\/em>) long-awaited return to the director\u2019s chair is an atmospherically moody success. Though its tone is a tad rocky (it verges on being silly at some questionable moments), the film is still worth checking out for fans of Stanley, Cage, or the horror genre in general.<\/p>\n\n\n\n

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

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Elijah Wood in Come to Daddy<\/figcaption><\/figure>\n\n\n\n

Come to Daddy<\/strong><\/p>\n\n\n\n

Elijah Wood has been making interesting choices since his days as a hobbit. This darkly comedic indie about a troubled young man\u2019s reunion with his long-estranged father continues to showcase that. Wood is vulnerable and wholly committed, putting the audience right in his shoes as his character falls deeper into his own personal hell. Come to Daddy<\/em> is bold, surprising, and quite oddly poignant.<\/p>\n\n\n\n

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

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The Croods: A New Age<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/strong><\/p>\n\n\n\n

This sequel to the 2013 animated hit about a family of cavemen fighting to survive is an endearing and entertaining effort. The animation is top-notch, and the designs are colorful and eye-catching. The script hits all the right notes to provide plenty of laughs and heartwarming moments while still delivering its messages about the importance of family, staying true to oneself, and the consequences of interfering with Mother Nature. <\/p>\n\n\n\n

The highly talented vocal cast features Nicolas Cage, Emma Stone, Ryan Reynolds, Catherine Keener, Cloris Leachman, Clark Duke, Kelly Marie Tran, Peter Dinklage, and Leslie Mann. They all supply the appropriate amount of heart and innovation to make their characters feel alive.<\/p>\n\n\n\n

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

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Delroy Lindo, Clarke Peters, Chadwick Boseman, Isiah Whitlock Jr., and Norm Lewis in Da 5 Bloods<\/figcaption><\/figure>\n\n\n\n

Da 5 Bloods<\/strong><\/p>\n\n\n\n

This Spike Lee film centers on a group of Black veterans (Delroy Lindo, Clarke Peters, Norm Lewis, and Isiah Whitlock Jr.) who return to Vietnam to track down a stash of gold and the remains of their fallen friend (the late Chadwick Boseman). <\/p>\n\n\n\n

As is often the case with Lee\u2019s more recent films, Da 5 Bloods<\/em> goes off on too many exhausting and over-bearing tangents to rank as one of the director\u2019s masterworks. Still, it contains some great performances (Lindo steals the show), impressive filmmaking, and some important messages to ponder. A masterpiece could have emerged with some more disciplined editing decisions (particularly in the first half) but, as it stands, it\u2019s a solid but flawed effort.<\/p>\n\n\n\n

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

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Andre Hyland and Michael Abbott Jr. in The Death of Dick Long<\/figcaption><\/figure>\n\n\n\n

The Death of Dick Long<\/strong><\/p>\n\n\n\n

This odd, Coen-esque dark comedy is quirkily and shockingly effective though somewhat thin in its story and character development. The characters of the film go to some fairly unmentionable extremes in their behavior\u2014which the movie admirably doesn\u2019t shy away from\u2014but we\u2019re given little information as to why. The film only scratches the surface of its unsettling subject matter, which needs more in-depth detailing to truly make an impact.<\/p>\n\n\n\n

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

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Chris Hemsworth in Extraction<\/figcaption><\/figure>\n\n\n\n

Extraction<\/strong><\/p>\n\n\n\n

Chris Hemsworth leaves his likable screen presence at home with his stoic portrayal of a mercenary who has to rescue the kidnapped son of a crime lord. There is one amazingly awesome action set piece that makes the film stand out, but it\u2019s an otherwise uninteresting story that is derivative of too many far better films. Hemsworth and the ambition behind that one sequence deserve to be in a more noteworthy film.<\/p>\n\n\n\n

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

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Mel Gibson in Fatman<\/figcaption><\/figure>\n\n\n\n

Fatman<\/strong><\/p>\n\n\n\n

This deliciously nasty Christmas story is a welcome diversion from standard holiday offerings. Mel Gibson stars as a world-weary, cynical Santa Claus who has to fend off a disturbed hitman (the great Walton Goggins) who was hired by a spoiled, sociopathic child (Chance Hurstfield) to take Santa out. Violent, darkly hilarious, and mischievously inventive, the film is an unpredictable and brutal ride that still manages to deliver a message of holiday cheer\u2014no matter how deranged its delivery method may be.<\/p>\n\n\n\n

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

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Mel Gibson in Force of Nature<\/figcaption><\/figure>\n\n\n\n

Force of Nature<\/strong><\/p>\n\n\n\n

In spite of a strong cast (Emille Hirsch, Kate Bosworth, Mel Gibson) and a well-written script (by Corey Miller), this film cannot fully rise above its own, exceedingly average production value. The editing is choppy, the camera work is uninspired, and the direction is so generic that it feels like literally anyone could have been at the helm. Though far and few between, the film has some impressive moments that show us what could have been if someone with a more distinct vision had seen it through.<\/p>\n\n\n\n

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

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Kathryn Newton in Freaky<\/figcaption><\/figure>\n\n\n\n

Freaky<\/strong><\/p>\n\n\n\n

A teenage girl (Kathryn Newton) swaps bodies with a deranged serial killer (Vince Vaughn) in this gleefully demented new offering from Blumhouse Productions. Freaky <\/em>is a roller coaster ride filled with big laughs, great scares, and over-the-top gore that should appease just about any horror fanatic. <\/p>\n\n\n\n

Vaughn and Newton exhibit a good deal of range in their interchanging roles, with both of them nailing comedic moments while portraying a teenager. They also both exhibit a believably threatening presence while playing a madman. Cowriter\/director Christopher Landon (Happy Death Day<\/em>) continues to be one of the most reliable and innovative presences behind the camera when it comes to the horror\/comedy genre.<\/p>\n\n\n\n

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

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Colin Farrell and Charlie Hunan in The Gentlemen<\/figcaption><\/figure>\n\n\n\n

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

One of Guy Ritchie\u2019s less-obnoxious entries (this writer is not usually a fan), The Gentlemen <\/em>is a well-written and well-made crime flick. A great cast (Matthew McConaughey, Hugh Grant, Charlie Hunan, Colin Farrell) elevates the already clever (though occasionally self-congratulating) material significantly. Farrell is the film\u2019s scene-stealing highlight.<\/p>\n\n\n\n

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

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Sophia Lillis in Gretel and Hansel<\/figcaption><\/figure>\n\n\n\n

Gretel and Hansel<\/strong><\/p>\n\n\n\n

This updated take on the classic Brothers Grimm fairy tale is a fairly solid, though significantly underwhelming, effort. The film is successful in creating a dreadful, creepy tone that keeps the audience on edge for most of its duration. It just would have been nice if it featured characters who aren\u2019t as chilly as the film\u2019s atmosphere. It\u2019s hard to sympathize with or root against anyone in the film, as most of its humanity gets lost in its inhuman environment.<\/p>\n\n\n\n

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

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Tom Hanks in Greyhound<\/figcaption><\/figure>\n\n\n\n

Greyhound<\/strong><\/p>\n\n\n\n

Tom Hanks stars in and wrote (based on a C.S. Forester novel) the screenplay for this exceedingly well-crafted WWII thriller. Portraying a U.S. navy commander who has to continuously fight off German submarines, Hanks\u2019 unblinking commitment to his role makes the film\u2019s unrelenting tension all the more tangible for the audience. With a runtime of only 91 minutes, director Aaron Schneider keeps the story compact, making a large impact with little screen time.<\/p>\n\n\n\n

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

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Daniel Radcliffe in Guns Akimbo<\/figcaption><\/figure>\n\n\n\n

Guns Akimbo<\/strong><\/p>\n\n\n\n

Daniel Radcliffe stars in this hyperkinetic action fantasy as a computer programmer who gets sucked into a bizarre and violent live game after pistols are bolted to both his hands. Colorful, loud, and unrelenting, the film is a clever (though slightly exhausting) homage to and critique of the online gaming world. Costar Samara Weaving (Ready or Not<\/em>) further exhibits her endless range as a savage and relentless antagonist.<\/p>\n\n\n\n

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

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Mackenzie Davis and Kristen Stewart in Happiest Season<\/figcaption><\/figure>\n\n\n\n

Happiest Season<\/strong><\/p>\n\n\n\n

A young woman (Mackenzie Davis) invites her girlfriend (Kristen Stewart) home for the holidays but neglects to mention that she has yet to come out to her family. Though its story is predictable, this inclusive Christmas tale has its heart in the right place and manages to be an entertaining, funny, and heartwarming effort. Davis and Stewart share great onscreen chemistry, and a strong supporting cast (Mary Steenburgen, Victor Garber, Aubrey Plaza, Alison Brie, Mary Holland) elevates the formulaic material significantly.<\/p>\n\n\n\n

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

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Bruce Willis in Hard Kill<\/figcaption><\/figure>\n\n\n\n

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

Bruce Willis\u2019 face may be on the promotional materials for this hopelessly generic actioner, but that doesn\u2019t mean he\u2019s featured in a memorable or overly prominent role. With the small amount of screen time he has, Willis is given little to do but appear uninterested and tired. It\u2019s hard to blame him, though, since it\u2019s nearly impossible for the audience not to feel exactly the same way.<\/p>\n\n\n\n

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

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Amy Adams in Hillbilly Elegy<\/figcaption><\/figure>\n\n\n\n

Hillbilly Elegy<\/strong><\/p>\n\n\n\n

Director Ron Howard and screenwriter Vanessa Taylor\u2019s adaptation of J.D. Vance\u2019s celebrated memoir has been treated rather unkindly by critics and audiences. Having not read the book, this writer can only guess that its many fans had a different interpretation of the story. Taking the movie strictly for what it is, however, it is an emotionally moving, exceedingly well-made, and beautifully acted (Amy Adams, Glenn Close, Owen Asztalos, and Gabriel Basso all deserve Oscar nods) study of a loving but highly dysfunctional southern Ohio family. <\/p>\n\n\n\n

Though it\u2019s been otherwise accused, the film is a sensitive depiction of Appalachian life that doesn\u2019t rely on easy or insulting caricatures. It doesn\u2019t sugarcoat the story\u2019s harsher aspects (which is perhaps what some critics and audiences found so insulting), but it still manages to convey its characters\u2019 reality with enormous fondness and heart.<\/p>\n\n\n\n

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

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Kate Walsh and Liam Neeson in Honest Thief<\/figcaption><\/figure>\n\n\n\n

Honest Thief<\/strong><\/p>\n\n\n\n

Liam Neeson stars as a bank robber who decides to turn himself into the F.B.I. after meeting the effervescent love of his life (Kate Walsh). Whatever interesting dramatic conflict that could have been explored with the premise is thrown out the window in favor of contrived characters and a string of average and tiresome action sequences. The film\u2019s strictly by-the-numbers execution lacks imagination and pizazz, but the strong cast (particularly Neeson, Walsh, and Jeffrey Donovan) saves the film from being a complete waste of time.<\/p>\n\n\n\n

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

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Alison Brie and Molly Shannon in Horse Girl<\/figcaption><\/figure>\n\n\n\n

Horse Girl<\/strong><\/p>\n\n\n\n

A young woman who works in a fabric store and obsesses over her childhood horse begins to slowly lose her grasp on reality in this uncompromising examination of mental illness. Cowriter\/star Alison Brie delivers a knockout performance (one of the best of the year) that is as sympathetic as it is unnerving. This is a strong, impactful film from beginning to end that never cheapens itself with easy or contrived answers.<\/p>\n\n\n\n

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

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Bette Gilpin in The Hunt<\/figcaption><\/figure>\n\n\n\n

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

This darkly comedic horror\/thriller is about a group of upper-class hunters whose prey happens to be lower-class humans. The film successfully works on numerous levels. It\u2019s highly suspenseful and provides plenty of shocks and thrills, but it\u2019s also an astute and scathing satire of the American social class system. Though the film slightly runs out of steam before it reaches its climax, it\u2019s still well worth checking out. Bette Gilpin (Glow<\/em>) gives a strikingly strong performance as the film\u2019s hunted protagonist.<\/p>\n\n\n\n

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

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Rachel Brosnahan in I’m Your Woman<\/figcaption><\/figure>\n\n\n\n

I\u2019m Your Woman<\/strong><\/p>\n\n\n\n

This dramatic thriller revolves around a young woman (Rachel Brosnahan) who goes into hiding with her new baby after her criminal husband gets into trouble.<\/p>\n\n\n\n

Co-writer\/director Julia Hart shows immense promise, efficiently staging scenes of highly captivating tension. Brosnahan and her costars all give excellent, thoughtful performances. The overall result is somewhat cold, however, due to an underdeveloped screenplay that doesn\u2019t provide enough backstory or motivation to its characters. The film is exceptionally well made but lacks the appropriate amount of heart and soul needed to be fully captivating.<\/p>\n\n\n\n

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

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Elizabeth Moss in The Invisible Man<\/figcaption><\/figure>\n\n\n\n

The Invisible Man<\/strong><\/p>\n\n\n\n

Writer\/director Leigh Whannell continues his hot streak (following up his excellent 2018 effort, Upgrade<\/em>) with this updated take on the classic horror story. Elizabeth Moss is a vulnerable, sympathetic lead as the haunted girlfriend of a mad, narcissistic scientist. The film is the perfect metaphor for an abusive relationship. Though logic sometimes feels a tad abandoned, the film is still highly suspenseful, intelligent, and thought-provoking.<\/p>\n\n\n\n

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

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Nicolas Cage in Jiu Jitsu<\/figcaption><\/figure>\n\n\n\n

Jiu Jitsu<\/strong><\/p>\n\n\n\n

This sci-fi\/martial arts pic is essentially a conflation of Kickboxer <\/em>and Predator<\/em>. It\u2019s utterly ridiculous in every possible way, but it still succeeds (in a charmingly cheesy way) due to some wild action sequences, inventive camerawork, and–it goes without saying–the presence of Nicolas Cage in a supporting role. All its elements work together to achieve unabashed b-movie glory.<\/p>\n\n\n\n

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

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Richard Jenkins, Evan Rachel Wood, and Debra Winger in Kajillionaire<\/figcaption><\/figure>\n\n\n\n

Kajillionaire<\/strong><\/p>\n\n\n\n

Quirky is something that many movies aspire to be, and some are more successful than others. Sometimes, you can just tell when a filmmaker has seen one too many Wes Anderson titles and seems hell-bent on making quirky<\/em> its own independent genre. Sometimes, a filmmaker can choke on his or her own cleverness and create something that is so obnoxiously self-congratulating that it\u2019s barely watchable. <\/p>\n\n\n\n

Kajillionaire, <\/em>which is centered on a family of small-time grifters, is sadly such a movie. It tries very hard to be above conventional storytelling but forgets to provide us with characters or a plot that are enticing or accessible. In spite of a highly talented cast (Evan Rachel Wood, Richard Jenkins, Debra Winger) and the film\u2019s surprisingly moving final few minutes, the film falls hopelessly and quirkily<\/em> flat.<\/p>\n\n\n\n

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

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Samara Weaving in Last Moment of Clarity<\/figcaption><\/figure>\n\n\n\n

Last Moment of Clarity<\/strong><\/p>\n\n\n\n

This mystery\/thriller has a strong premise: a man living in Paris (Zach Avery) sees a movie featuring an actress that looks just like his departed lover (Samara Weaving) and he soon becomes obsessed with tracking her down. The first half is wholly engrossing, but the second half suffers from too much padding and subplots that are more contrived and generic than the strong central story deserves. Though the film overall works, it increasingly feels as though it was a bit too thinly stretched to reach a feature-length running time. But, man, that first half is entrancing.<\/em><\/p>\n\n\n\n

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

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Aaron Eckhart in Line of Duty<\/figcaption><\/figure>\n\n\n\n

Line of Duty<\/strong><\/p>\n\n\n\n

Aaron Eckhart stars in this media-satirizing actioner as a cop trying to beat the clock to save a kidnap victim. The movie is well made, smart enough, and tightly paced. Eckhart\u2019s commanding presence raises the formulaic (though well-written by Jeremy Drysdale) material up a few notches.<\/p>\n\n\n\n

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

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Kumail Nanjiani and Issa Rae in The Lovebirds<\/figcaption><\/figure>\n\n\n\n

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

Issa Rae and Kumail Nanjiani share great onscreen chemistry as a couple whose rocky love life is interrupted after they witness a brutal murder. Though formulaic and predictable, the talented cast always manages to keep things lively and fresh. Director Michael Showalter keeps the momentum up and the pacing quick, making The Lovebirds <\/em>a tight and entertaining comedic experience.<\/p>\n\n\n\n

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

\"\"
George Clooney in The Midnight Sky<\/figcaption><\/figure>\n\n\n\n

The Midnight Sky<\/strong><\/p>\n\n\n\n

Producer\/actor\/director George Clooney\u2019s latest is a slow-paced but hypnotic science fiction\/post-apocalyptic drama that goes to some unexpected places. On first viewing, the film\u2019s execution might seem to be a bit haphazard. It sometimes tests its viewer\u2019s patience with its multiple storylines and complex structure. If you stick with it, however, The Midnight Sky<\/em>\u2019s final moments provide an enormous emotional and intellectual payoff that makes whatever frustrations it took getting there well worth it. <\/p>\n\n\n\n

Clooney delivers a grounded and subtle performance as a scientist trying to warn astronauts against returning home to Earth because of the planet\u2019s now-inhospitable climate. Felicity Jones, David Oyelowo, Kyle Chandler, and Caoilinn Springall all stand out amongst the impressively solid ensemble cast.<\/p>\n\n\n\n

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

\"\"
Anya Taylor-Joy in The New Mutants<\/figcaption><\/figure>\n\n\n\n

The New Mutants<\/strong><\/p>\n\n\n\n

This long-delayed and much-reshot spinoff of the X-Men <\/em>series isn\u2019t nearly as bad as it should be. In spite of some rough edges, it still manages to be entertaining throughout. Interesting characters, innovative effects, and well-staged action sequences save a somewhat muddied narrative. Anya Taylor-Joy stands out amongst the film\u2019s solid ensemble, exhibiting a fierce and steely screen presence that steals focus every time she\u2019s on camera.<\/p>\n\n\n\n

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

\"\"
Charlize Theron in The Old Guard<\/figcaption><\/figure>\n\n\n\n

The Old Guard<\/strong><\/p>\n\n\n\n

A group of immortal mercenaries who have protected the world for centuries fight to keep their powers from getting into the wrong hands. Charlize Theron heads an impressive cast as the group\u2019s leader, and there\u2019s no denying she has the presence or strength to be believable in the role. The film grows tired, however, with one exhausting and uninspired action set piece after another. Though it tries, the film doesn\u2019t offer enough development to its many supporting characters to make them relatable or discernable.<\/p>\n\n\n\n

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

\"\"
Raffey Cassidy and Michael Huisman in The Other Lamb<\/figcaption><\/figure>\n\n\n\n

The Other Lamb<\/strong><\/p>\n\n\n\n

A teenage girl (Raffey Cassidy) begins to question the teachings of her toxic cult leader (Michael Huisman) and soon finds herself at odds with everything she was raised to believe. Though the film has a timely message of female empowerment, it\u2019s marred by an overwhelming nonlinear editing style that oftentimes feels at odds with the film\u2019s story and characters. Beautifully photographed and well accomplished on a technical level, the film\u2019s stylistic flourishes ultimately distract the audience from the film\u2019s full dramatic potential.<\/p>\n\n\n\n

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

\"\"
Caleb Landry Jones in The Outpost<\/figcaption><\/figure>\n\n\n\n

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

Director Rod Lurie (The Contender, Nothing But the Truth)<\/em> continues his reign as one of the most reliable and underappreciated talents working behind the camera today. Set during the Afghanistan war, the film centers on a group of U.S soldiers during a surprise attack on their vulnerable outpost. The battle scenes are impressively realistic and harrowing, but it\u2019s the ensemble cast\u2019s commitment to their roles and the care Lurie takes in developing their characters that makes the film truly stand out. Caleb Landry Jones, in particular, showcases an effective and intense vulnerability.<\/p>\n\n\n\n

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

\"\"
Andrea Riseborough in Possessor<\/figcaption><\/figure>\n\n\n\n

Possessor<\/strong><\/p>\n\n\n\n

Writer\/director Brandon Cronenberg\u2019s hallucinatory science fiction\/horror movie about an assassin (the wonderful Andrea Riseborough) who inhabits other bodies to carry out her duties has an undeniably fascinating premise. It deserves credit for not taking the standard action\/thriller route, but its intentionally vague execution grows increasingly tiresome as numerous plot threads go unexplained and\/or unresolved. Unwarranted and graphic brutality ultimately distracts the audience with its excessive presence. Brilliantly executed on a technical level, the film is initially fascinating but ultimately, and quite frustratingly, unsatisfying.<\/p>\n\n\n\n

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

\"\"
Jamie Foxx and Joseph Gordon-Levitt in Project Power<\/figcaption><\/figure>\n\n\n\n

Project Power<\/strong><\/p>\n\n\n\n

A great concept (an illegal pill gives its users superpowers for five minutes) is completely wasted with a stale screenplay and an overall derivative execution. In spite of its potential, there\u2019s nothing new offered here except that it might be the most boring superhero movie in recent memory. The talents of stars Jamie Foxx and Joseph Gordon-Levitt are wasted with this mediocre and easily forgettable production.<\/p>\n\n\n\n

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

\"\"
Robyn Nevin, Emily Mortimer, and Bella Heathcote in Relic<\/figcaption><\/figure>\n\n\n\n

Relic<\/strong><\/p>\n\n\n\n

An elderly woman (Robyn Nevin) needs care after returning from a mysterious disappearance, bringing her daughter and granddaughter (Emily Mortimer and Bella Heathcote) together to help her. Relic<\/em> explores the psychological horror of watching a parent grow old. Cowriter\/director Natalie Erika James keeps things grounded in emotional reality while still telling a story that is appropriately creepy and moody. Though its pacing sometimes drags and the ending lacks a dramatic punch, the film still manages to hauntingly linger long after it\u2019s over.<\/p>\n\n\n\n

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

\"\"
Blake Lively in The Rhythm Section<\/figcaption><\/figure>\n\n\n\n

The Rhythm Section<\/strong><\/p>\n\n\n\n

Blake Lively\u2019s focused and wounded portrayal of an everyday woman who seeks revenge against those who killed her family is about the only thing that stands out in this hopelessly average thriller. We\u2019ve seen variations of this story told numerous times before, and the film\u2019s screenplay offers little by way of inspiration. Director Reed Morano does a functionally good job of staging the action but seems to be at a loss as to how to emotionally involve her audience in a story that is fundamentally stale and tired.<\/p>\n\n\n\n

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

\"\"
Kate Lyn Sheil in She Dies Tomorrow<\/figcaption><\/figure>\n\n\n\n

She Dies Tomorrow<\/strong><\/p>\n\n\n\n

A woman (Kate Lyn Sheil) comes to believe that her life is going to end on the following day, and its effects spread to everyone around her when they begin to believe that their life will also end the next day. Though ambitious and adeptly trippy, the film fails at being inclusively coherent and succeeds only at becoming increasingly dull and tedious. While the moody atmosphere is at first intoxicating, it grows tiresome as She Dies Tomorrow<\/em> progresses and it becomes increasingly evident that the movie is headed nowhere very, very slowly.<\/p>\n\n\n\n

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

\"\"
Ronin Rubenstein in Smiley Face Killers<\/figcaption><\/figure>\n\n\n\n

Smiley Face Killers<\/strong><\/p>\n\n\n\n

A graduate student (Ronin Rubenstein) who suffers from mental instability begins to receive anonymous and threatening messages that make him further question his sanity. <\/p>\n\n\n\n

The team-up of director Tim Hunter (River\u2019s Edge<\/em>) and screenwriter Bret Easton Ellis (the novelist who penned American Psycho<\/em>) should have been a match made in heaven. Unfortunately, the film falls hopelessly flat the more it unravels. Though Hunter supplies the first half of the film with effective tension, it never comes close to paying off. A severely lackluster climax will make audiences question why they bothered watching Smiley Face Killers <\/em>in the first place.<\/p>\n\n\n\n

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

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

Soul<\/strong><\/p>\n\n\n\n

A struggling jazz pianist has an out-of-body experience and then struggles to find his way back to reality so he can play a once-in-a-lifetime gig. Pixar\u2019s latest animated effort is a life-affirming and joyous film that is filled with creativity and humor. Jamie Foxx and Tina Fey lead the vocal cast, providing humanity and heart to their well-defined and easily relatable characters. <\/p>\n\n\n\n

Soul <\/em>is a colorful and entertaining film that reminds us all to value what\u2019s important in life without being overly simplistic or grossly sentimental about it. The musical score by Trent Reznor and Atticus Ross stands out as yet another impressive accomplishment by the endlessly talented and eclectic duo.<\/p>\n\n\n\n

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

\"\"
Mark Wahlberg and Winston Duke in Spenser Confidential<\/figcaption><\/figure>\n\n\n\n

Spenser Confidential<\/strong><\/p>\n\n\n\n

Director Peter Berg\u2019s film is a fast, funny action\/comedy that hits all the right notes without offering anything new to its genre. Mark Wahlberg and Winston Duke star as bickering roommates trying to solve a crime, and their playful chemistry keeps the film engaging and light in tone. Though it\u2019s nothing astounding, the film gets the job done and is an entertaining effort.<\/p>\n\n\n\n

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

\"\"
Shia LaBeouf and Bobby Soto in The Tax Collector<\/figcaption><\/figure>\n\n\n\n

The Tax Collector<\/strong><\/p>\n\n\n\n

David Ayer returns to his roots with this brutal story about an L.A. gang tax collector (Bobby Soto) whose world is shaken when a local crime lord overthrows his boss. While the film\u2019s story is a bit thin, it still manages to be a solid (though vicious) character drama. Excessively violent to the point of being unwatchable at times, Ayer seems to be exorcising himself of his more recent audience-friendly outings such as Suicide Squad <\/em>and Bright<\/em>. A virtually unrecognizable Shia LaBeouf offers excellent support as Soto\u2019s loyal right-hand man.<\/p>\n\n\n\n

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

\"\"
Robert Pattinson and John David Washington in Tenet<\/figcaption><\/figure>\n\n\n\n

Tenet<\/strong><\/p>\n\n\n\n

Christopher Nolan\u2019s latest is nothing short of a befuddling head-scratcher\u2014at least on first viewing (which is all this writer has experienced to date).  There are, however, some magnificent and wholly unique action sequences that sometimes make the film as exciting as anything Nolan\u2019s done to date. It just would have been nice to know what the f*&$# was going on.<\/p>\n\n\n\n

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

\"\"
Mark Rylance and Eddie Redmayne in The Trial of the Chicago 7<\/figcaption><\/figure>\n\n\n\n

The Trial of the Chicago 7<\/strong><\/p>\n\n\n\n

A great ensemble cast (Eddie Redmayne, Sacha Baron Cohen, John Carroll Lynch, Yahya Abdul-Mateen II, Frank Langella, Michael Keaton, Mark Rylance, Joseph Gordon-Levitt) headlines this riveting historical courtroom drama. The dialogue is snappy, the pacing is tight, and the filmmaking is flawless. Told with heart, humor, and style, the film manages to make an important history lesson as entertaining as any escapist yarn (which is no small feat). <\/p>\n\n\n\n

Writer\/director Aaron Sorkin further proves himself as one of the only modern dramatists who can make fact every bit as enthralling as fiction.<\/p>\n\n\n\n

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

\"\"
Sophie Giannamore and Jaeden Martell in The True Adventures of Wolfboy<\/figcaption><\/figure>\n\n\n\n

The True Adventures of Wolfboy<\/strong><\/p>\n\n\n\n

A thirteen-year-old boy (Jaeden Martell) with excessive hair growth all over his face and body takes a road trip to meet his long-lost mother in this thoughtful tale about the pain of being an outsider. The performances and filmmaking are solid, but nothing is ever explored deeply enough to let the characters\u2019 reality sink in. As a result, it\u2019s difficult for the audience to fully empathize with them. The film is well-intentioned but not engrossing, a meaningful but underwhelming effort.<\/p>\n\n\n\n

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

\"\"
Mackenzie Davis and Brooklynn Prince in The Turning<\/figcaption><\/figure>\n\n\n\n

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

Director Floria Sigismondi (The Runaways<\/em>) makes a return to feature films with this modern retelling of Henry James\u2019 The Turn of the Screw<\/em>. While she provides the film with a creepy tone and a muted color palette reminiscent of Tim Burton\u2019s darker works, the film\u2019s screenplay falls apart in its last act and fails to be completely coherent\u2014and not in an intentionally ambiguous, David Lynch sort of way. <\/p>\n\n\n\n

Sigismondi\u2019s visual talents still manage to persevere, and the highly gifted cast (namely Mackenzie Davis, Brooklynn Prince, and Finn Wolfhard) salvages what could have been a complete mess with committed and believable performances.<\/p>\n\n\n\n

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

\"\"
Kristen Stewart in Underwater<\/figcaption><\/figure>\n\n\n\n

Underwater<\/strong><\/p>\n\n\n\n

This bottom-of-the-ocean monster flick is an exercise in tension, brevity (it only runs 95 minutes), and atmosphere. Though a b-movie by design, it uses a-level talents to elevate itself to something far more impressive. Kristen Stewart once again proves she can carry a movie without sparkling vampires; it\u2019s just too bad nobody\u2019s taking the time to notice.<\/p>\n\n\n\n

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

\"\"
Russell Crowe in Unhinged<\/figcaption><\/figure>\n\n\n\n

Unhinged<\/strong><\/p>\n\n\n\n

Russell Crowe stars as a murderous, mentally unstable man who experiences a severe case of road rage after a driver (Caren Pistorius) honks her horn at him at an intersection. Brutal and unrelenting, the film plays like an intelligent slasher flick, something like a cross between The Hitcher <\/em>and Falling Down. <\/em>Though logic is oftentimes thrown out the window in favor of plot progression, the movie is believable enough to be modestly captivating for the duration of its 90-minute runtime.<\/p>\n\n\n\n

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

\"\"
Sierra McCormick and Jake Horowitz in The Vast of Night<\/figcaption><\/figure>\n\n\n\n

The Vast of Night<\/strong><\/p>\n\n\n\n

This ultra-low-budget science fiction drama is set in 1950s New Mexico and revolves around a mysterious radio transmission that could have been sent by aliens. Told in a series of masterfully roaming long takes, the film is a brilliant exercise in tension building. It keeps you on the edge of your seat for most of its 91-minute duration, but the story\u2019s eventual destination isn\u2019t nearly as fascinating as the journey getting there. A worthwhile though mildly disappointing effort, the film ultimately serves as a brilliant build-up to a disappointing pay-off.<\/p>\n\n\n\n

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

\"\"
Stephen Lang in VFW<\/figcaption><\/figure>\n\n\n\n

VFW<\/strong><\/p>\n\n\n\n

A great cast (Stephen Lang, William Sadler, Martin Kove, Fred Williamson, George Wendt, David Patrick Kelly) significantly elevates this low-budget action\/horror flick about a group of veterans who defend their VFW post from a gang of zombified drug addicts. The suspense is plentiful, the action is well-executed, and the pacing is unrelenting. This is a solid, gruesomely entertaining genre effort.<\/p>\n\n\n\n

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

\"\"
Mark Rylance and Johnny Depp in Waiting for the Barbarians<\/figcaption><\/figure>\n\n\n\n

Waiting for the Barbarians<\/strong><\/p>\n\n\n\n

A colonial magistrate (Mark Rylance) questions the brutal interrogation tactics of an army colonel (Johnny Deep) who has recently arrived at his frontier outpost. While there is nothing inherently wrong with this well-acted and beautifully photographed (by Christ Menges) film, it\u2019s a bit too dramatically flat to fully involve its audience. Unfortunately, the film\u2019s numerous attributes can\u2019t fully save it from its sluggish pacing and lack of involving tension.<\/p>\n\n\n\n

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

\"\"
Aaron Eckhart in Wander<\/figcaption><\/figure>\n\n\n\n

Wander<\/strong><\/p>\n\n\n\n

Aaron Eckhart stars as an ultra-paranoid conspiracy theorist\/private investigator who is hired to investigate the death of a young immigrant woman. Director April Mullen excels at instilling an unsettling and chaotic sense of confusion in her audience that mirrors the protagonist\u2019s fractured mindset. Wander <\/em>asks quite a lot of its audience and does require patience, but it ultimately comes together and pays off in the end. Running at a brisk 94 minutes, the film could have slowed down its pacing to develop its characters and intentionally convoluted storyline a little bit more clearly. <\/p>\n\n\n\n

Heather Graham, Tommy Lee Jones, and Raymond Cruz round out the excellent supporting cast. Eckhart delivers an intense and haunted portrayal of a delusional man whose reality may or may not be stranger than anything he could have imagined.<\/p>\n\n\n\n

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

\"\"
Sienna Miller and Diego Luna in Wander Darkly<\/figcaption><\/figure>\n\n\n\n

Wander Darkly<\/strong><\/p>\n\n\n\n

A young married couple (Sienna Miller and Diego Luna) is involved in a severe car accident, and the woman shortly thereafter experiences a surreal, stream-of-consciousness journey into the past, present, and future. <\/p>\n\n\n\n

Wander Darkly <\/em>requires its audience to surrender to its complex execution. Though it is sometimes a test of patience, it is an overall enveloping and meditative examination of life, love, and death. Miller and Luna are both excellent, and writer\/director Tara Miele does an impressive job of balancing real and relatable characters with a sizable (though tasteful) amount of mind meddling.<\/p>\n\n\n\n

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

\"\"
Ben Affleck in The Way Back<\/figcaption><\/figure>\n\n\n\n

The Way Back<\/strong><\/p>\n\n\n\n

Ben Affleck stars as an alcoholic former high school basketball star who is given a second chance at life when he is presented with the opportunity to coach his local high school team. Affleck\u2019s committed and grounded performance elevates the formulaic but still effective material. It\u2019s a movie-of-the-week premise, but one presented with expertise and sincerity.<\/p>\n\n\n\n

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

\"\"
Boyd Holbrook in We Can Be Heroes<\/figcaption><\/figure>\n\n\n\n

We Can Be Heroes<\/strong><\/p>\n\n\n\n

Writer\/director\/cinematographer Robert Rodriguez\u2019s latest family-friendly effort centers on the children of superheroes who have to save the world after their parents are kidnapped by alien forces. <\/p>\n\n\n\n

The movie is overall snappy and fun, but it, unfortunately, doesn\u2019t respect its audience\u2019s intelligence enough to be something truly special. The humor is dumbed-down, the story is a bit of a jumble, and most of the kids give smiley-faced, unnatural performances that feel more like staged caricatures of television commercials than the behavior of actual children. Though Rodriguez offers enough innovation and pizazz to make the film entertainingly worthwhile, We Can Be Heroes<\/em> still can\u2019t help but choke on its own forced cuteness.<\/p>\n\n\n\n

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

\"\"
Anne Hathaway in The Witches<\/figcaption><\/figure>\n\n\n\n

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

Cowriter\/director Robert Zemeckis\u2019 updated take on the Roald Dahl classic is a joy from start to finish. Sure, it\u2019s a remake (Dahl\u2019s book was previously adapted by director Nicolas Roeg in 1990) that nobody was asking for, but it still manages to make the material its own by updating it with well-defined characters and impressive modern-day visual effects. <\/p>\n\n\n\n

Anne Hathaway has infectious fun with her role as the Grand High Witch, but it\u2019s Octavia Spencer\u2019s lovable humanity and grounded screen presence that truly gives the film its heart. This is a fun, creepy film told with a playful tone that is balanced by sincere moments of warmth.<\/p>\n\n\n\n

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

\"\"
The Wolf of Snow Hollow<\/figcaption><\/figure>\n\n\n\n

The Wolf of Snow Hollow<\/strong><\/p>\n\n\n\n

This unique werewolf tale takes us to some unexpected places. Darkly funny and poignantly dramatic, the movie takes a number of tonal shifts that are sometimes a tad jagged but usually pay off. Writer\/director Jim Cummings uses the small mountain town setting to the film\u2019s advantage, creating a beautiful yet discomforting atmosphere that suits the film nicely. The late Robert Forster gives a great, bittersweet final performance as a man, quite fittingly, facing his own mortality.<\/p>\n\n\n\n

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

\"\"
Gal Gadot in Wonder Woman 1984<\/figcaption><\/figure>\n\n\n\n

Wonder Woman 1984<\/strong><\/p>\n\n\n\n

Gal Gadot reprises her role as everyone\u2019s favorite Amazonian superhero in this sequel to 2017\u2019s Wonder Woman<\/em>. Set in the 1980s, the film serves as an astute though harmless satire of the decade\u2019s \u201cgreed is good\u201d mentality. The somewhat cluttered film falters with its rushed development of its villains, but the talented cast (namely Gadot, Chris Pine, Kristen Wiig, and Pedro Pascal) manages to rise above the script\u2019s shortcomings by providing plenty of life and humor to their roles. <\/p>\n\n\n\n

Director\/co-writer Patty Jenkins spends more screen time exploring Wonder Woman\u2019s character than she does her heroics. While this approach adds humanity to the spectacle, it weighs down the film\u2019s first half and makes the second half\u2019s action feel too brisk and uneven. There are still plenty of attributes going for Wonder Woman 1984<\/em>, however, to make it a fun, funny, and heartfelt entry into the DCEU.<\/p>\n\n\n\n

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

\"\"
Avery Essex and Kevin Bacon in You Should Have Left<\/figcaption><\/figure>\n\n\n\n

You Should Have Left<\/strong><\/p>\n\n\n\n

Writer (based on Daniel Kehlmann\u2019s novel)\/director David Koepp and star Kevin Bacon reunite after their highly underrated 1999 supernatural thriller, Stir of Echoes<\/em>. While this collaboration isn\u2019t quite as effective, it\u2019s still a top-notch haunted house story filled with ample amounts of tension. <\/p>\n\n\n\n

First and foremost, however, You Should Have Left <\/em>is a well-developed character drama that uses its genre story to provide insight into marriage, guilt, and aging. Bacon\u2019s presence is as reliable and watchable as ever, and Amanda Seyfried provides excellent support as his much-younger and questionably motivated wife.<\/p>\n\n\n\n

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

12 Hour Shift Writer\/director Brea Grant\u2019s dark comedy\/satire on the healthcare industry is a manic joyride full of shocking twists and turns. Angela Bettis stars as a nurse who makes extra money by illegally selling organs, and her schemes eventually catch up with her during the course of one extremely unlucky evening. Unpredictable and chaotic, […]<\/p>\n","protected":false},"author":2,"featured_media":2195,"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-2153","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\/2153","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=2153"}],"version-history":[{"count":24,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/2153\/revisions"}],"predecessor-version":[{"id":3168,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/2153\/revisions\/3168"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media\/2195"}],"wp:attachment":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media?parent=2153"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/categories?post=2153"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/tags?post=2153"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}