{"id":2280,"date":"2021-04-23T13:58:40","date_gmt":"2021-04-23T13:58:40","guid":{"rendered":"http:\/\/otherpeoplesmovies.com\/?p=2280"},"modified":"2022-07-27T16:05:21","modified_gmt":"2022-07-27T16:05:21","slug":"review-roundup-winter-and-early-spring-2021-releases","status":"publish","type":"post","link":"https:\/\/otherpeoplesmovies.com\/index.php\/2021\/04\/23\/review-roundup-winter-and-early-spring-2021-releases\/","title":{"rendered":"REVIEW ROUNDUP: 2021 Releases"},"content":{"rendered":"\n
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Emilia Clarke in Above Suspicion<\/figcaption><\/figure>\n\n\n\n

Above Suspicion<\/strong><\/p>\n\n\n\n

Director Phillip Noyce returns to full form with this marvelously crafted, reality-based, and character-driven thriller. Feeling like it should have been made in a previous decade, Above Suspicion <\/em>is the kind of intelligent and adult-oriented movie we don\u2019t see enough of, anymore. The revelatory and provocative film hits all the right notes and was obviously executed by masters of their craft.<\/p>\n\n\n\n

Emilia Clarke gives a completely transformative and highly courageous performance as a lower-class Kentuckian who starts an affair with the FBI agent (portrayed with an appropriately complex mixture of earnestness and shadiness by Jack Huston) who employs her as an informant. This unjustly underrated and severely under-publicized film is one of the biggest and best surprises of its year.<\/p>\n\n\n\n

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

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The Addams Family 2<\/figcaption><\/figure>\n\n\n\n

The Addams Family 2<\/strong><\/p>\n\n\n\n

This sequel to the 2019 computer-animated reboot of The Addams Family <\/em>features the titular clan on a cross-country road trip across America. The film is filled with witty dialogue, clever sight gags, and comically spooky characters. The Addams Family 2 <\/em>is a solid and inventive piece of entertainment that utilizes harmless dark humor while still being appropriate for the entire family.<\/p>\n\n\n\n

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

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Jeremy T. Thomas in Antlers<\/figcaption><\/figure>\n\n\n\n

Antlers<\/strong><\/p>\n\n\n\n

This Scott Cooper directorial effort is a sturdy, though slightly underwhelming, entry into the horror genre. The film centers on a schoolteacher (Keri Russell) who, while trying to help a troubled student (Jeremy T. Thomas), finds herself facing a highly lethal creature that was previously considered to be mythological.<\/p>\n\n\n\n

The film is an overall intelligent and well-made effort, though you have to forgive it for some shortcomings that are common to its genre. Characters stupidly and unrealistically put themselves in harm\u2019s way for no other reason than to progress the plot, the story and its primary antagonist aren\u2019t as fully developed as they should or could be, and the ending is more concerned with setting up a sequel than it is with being satisfying in its own right. However, Scott\u2019s classy filmmaking and Russell\u2019s, Thomas\u2019, and Jesse Plemons\u2019 dedicated performances help Antlers <\/em>rise above its faults and be an effectively creepy (though somewhat modest) success.<\/p>\n\n\n\n

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

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Army of the Dead<\/figcaption><\/figure>\n\n\n\n

Army of the Dead<\/strong><\/p>\n\n\n\n

This Zack Snyder film is a horror\/action hybrid about a heist in a zombie-infested Las Vegas. The thrills and suspense are as present as the humor and attempted heart.<\/p>\n\n\n\n

The film\u2019s least successful aspects are those dealing with the human characters and their relationships. Lead Dave Bautista\u2019s natural onscreen charisma can\u2019t help a forced estranged father\/daughter subplot work amongst Snyder\u2019s gleeful carnage. As is often the case with Snyder\u2019s work, the film runs too long at two-and-a-half hours and needs some considerable tightening. Despite its faults, however, there are still plenty of inventive, horrific, and exhilarating moments to make Army of the Dead<\/em> worthwhile.<\/p>\n\n\n\n

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

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Matthias Schweigh\u00f6fer in Army of Thieves<\/figcaption><\/figure>\n\n\n\n

Army of Thieves<\/strong><\/p>\n\n\n\n

This prequel to Zack Snyder\u2019s Army of the Dead <\/em>is a fast-paced, mostly zombie-less action-comedy that maintains its predecessor\u2019s mayhem-loving, thrill-inducing spirit. Matthias Schweigh\u00f6fer cleverly directs and reprises his Dead <\/em>roleas an expert German safecracker. Though it\u2019s a tad predictable and formula-driven, Army of Thieves <\/em>is still a genuinely funny and endlessly entertaining piece of escapist entertainment.<\/em><\/p>\n\n\n\n

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

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Gina Rodriguez in Awake<\/figcaption><\/figure>\n\n\n\n

Awake<\/strong><\/p>\n\n\n\n

The odds are against Awake <\/em>long before it begins. Its central premise–the world goes mad after all electricity stops and people lose the ability to sleep\u2014is already teetering between intrigue and unintentional comedy. The conventional family-on-the-run-during-the-apocalypse storyline doesn\u2019t help matters, either.<\/p>\n\n\n\n

Awake<\/em> only begins to develop and explore its ideas in its last half-hour. It\u2019s too little, too late by that point, however. Despite some good performances (Gina Rodriguez and Barry Pepper stand out) and a few memorable moments, Awake <\/em>is an overwhelmingly dull and unwittingly absurd way to spend a hundred minutes of your life.<\/p>\n\n\n\n

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

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John David Washington in Beckett<\/figcaption><\/figure>\n\n\n\n

Beckett<\/strong><\/p>\n\n\n\n

John David Washington portrays an American tourist in Greece who has to run for his life after uncovering a conspiracy. Thrills and suspense are effectively present in the first half, but the film\u2019s quality drops significantly during the second half. Despite some solid filmmaking, Beckett <\/em>suffers due to some overly extravagant and unbelievable action sequences and an increasingly stale and uninteresting storyline.<\/p>\n\n\n\n

Washington, the film\u2019s primary highlight, proves yet again that he can carry a film with a highly intense yet surprisingly vulnerable performance. Now, it\u2019s just time for him to find material that is worthy of his talents.<\/p>\n\n\n\n

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

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Nicole Kidman and Javier Bardem in Being the Ricardos<\/figcaption><\/figure>\n\n\n\n

Being the Ricardos<\/strong><\/p>\n\n\n\n

Writer\/director Aaron Sorkin brings us another piece of dramatized history with his most recent work, Being the Ricardos<\/em>. The well-written, well-made film offers a glimpse of the politics that went on behind the scenes of the beloved 1950s sitcom, I Love Lucy.<\/em><\/p>\n\n\n\n

While it is an intellectually stimulating film, it often falls emotionally and dramatically flat because of an unnecessarily complex and hard-to-follow nonlinear structure. The film is still an overall solid accomplishment that hosts a number of great performances by such major talents as Nicole Kidman, Javier Bardem, J.K. Simmons, Tony Hale, and Alia Shawkat.<\/p>\n\n\n\n

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

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Jim Cummings in The Beta Test<\/figcaption><\/figure>\n\n\n\n

The Beta Test<\/strong><\/p>\n\n\n\n

This darkly comedic and intelligently satiric film centers on a phony Hollywood agent (played by co-writer and co-director Jim Cummings) whose life is turned upside down after he receives an invitation from an admirer for an anonymous sexual encounter.<\/p>\n\n\n\n

The Beta Test <\/em>deserves points for originality and unpredictability, but the film leaves much to be desired when it comes to having a coherent storyline and a clear point. Despite its freshness and astuteness, the film just doesn\u2019t fully add up. Cummings\u2019 lead performance is particularly strong, providing another attribute to this uneven but intriguing film.<\/p>\n\n\n\n

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

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Scarlett Johansson and Florence Pugh in Black Widow<\/figcaption><\/figure>\n\n\n\n

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

With Black Widow<\/em>, the MCU makes one of their biggest and blandest blunders.<\/em> The standalone story of Scarlett Johansson\u2019s Natasha Romanoff character is a missed opportunity on just about every level. The script and execution are dull and humorless, the characters are frustratingly lifeless, and the action scenes feel like they were copied and pasted from every Marvel movie that precedes it.<\/p>\n\n\n\n

After all these years of being a solid supporting player, Johansson deserved far better for her own movie than this uninspired and trite production. Marvel movies have gotten away with many things over the years, but being boring is not one of them.<\/p>\n\n\n\n

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

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Owen Wilsom and Selma Hayek in Bliss<\/figcaption><\/figure>\n\n\n\n

Bliss<\/strong><\/p>\n\n\n\n

Writer\/director Mike Cahill (I Origins, Another Earth<\/em>) returns for another grounded, character-based science fiction\/drama. Owen Wilson and Selma Hayek both give naturalistic performances that balance the fantastical aspects of the story. Bliss <\/em>somewhat falters in its second half, as its narrative becomes too complex for its own good. The originality of its story, the talent of the cast, and Cahill\u2019s distinct vision all salvage the film, however, and make it a uniquely mind-bending experience.<\/p>\n\n\n\n

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

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Peri Baumeister and Carl Anton Koch in Blood Red Sky<\/figcaption><\/figure>\n\n\n\n

Blood Red Sky<\/strong><\/p>\n\n\n\n

This German thriller\/horror is an intense and overall captivating film. The film\u2019s story involves the terrorist hijacking of a commercial airline flight, but where it goes from there is full of pleasantly terrifying surprises that shouldn\u2019t be spoiled here. Though the pacing is occasionally uneven and draggy, Blood Red Sky <\/em>is still a highly satisfying piece of entertainment.<\/p>\n\n\n\n

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

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Bob Ross in Bob Ross: Happy Accidents, Betrayal & Greed<\/figcaption><\/figure>\n\n\n\n

Bob Ross: Happy Accidents, Betrayal & Greed<\/strong><\/p>\n\n\n\n

This documentary focuses on the brutal reality behind the world-famous art instructor Bob Ross\u2019 business. While Bob Ross: Happy Accidents, Betrayal & Greed<\/em> provides plenty of unsavory details, it doesn\u2019t spend enough time focusing on Ross as a man. Examinations of his life and personality are rarely more than surface-deep. The corruption of his brand is important information, but the film fails to be truly effective because the most fascinating part of the story\u2014Ross himself\u2014is given a backseat.<\/p>\n\n\n\n

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

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Frank Grillo and Mel Gibson in Boss Level\n<\/figcaption><\/figure>\n\n\n\n

Boss Level<\/strong><\/p>\n\n\n\n

This could have been a really good movie\u2014and it is except for an ending that can only be described as lousy. Frank Grillo stars in this Groundhog Day <\/em>variation as a man who relives the same day over and over. The catch is, he has to repeatedly thwart a team of deadly assassins who want him dead for reasons he can\u2019t understand.<\/p>\n\n\n\n

Mel Gibson and Naomi Watts both deliver standout performances in supporting roles. It\u2019s a fun premise and a fun movie for most of its duration, it\u2019s just too bad that Boss Level <\/em>is marred by an ending that is as sloppily abrupt as it is wholly unsatisfying.<\/p>\n\n\n\n

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

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Yahya Abdul-Mateen II in Candyman<\/figcaption><\/figure>\n\n\n\n

Candyman<\/strong><\/p>\n\n\n\n

This direct sequel to the 1992 classic is a well-made, smart, and racially aware piece of mainstream filmmaking that manages to both entertain and provoke thought. Candyman <\/em>is a rare horror movie that provides social commentary on some of its time\u2019s most pertinent issues, namely Black Lives Matter. Despite its larger aspirations, however, Candyman<\/em> is, first and foremost, a down-and-dirty genre flick that supplies its fair share of frights and gore. While it may not have the most original storyline, it still manages to be an overall freshly executed, insightful, and captivating film that rises above the potential limitations of its genre.<\/p>\n\n\n\n

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

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Oscar Issac and Tye Sheridan in The Card Counter<\/figcaption><\/figure>\n\n\n\n

The Card Counter<\/strong><\/p>\n\n\n\n

Writer\/director Paul Schrader\u2019s late-career hot streak continues with this revenge drama\u2014at least in the eyes of just about every critic other than this one.<\/p>\n\n\n\n

The Card Counter <\/em>is an overrated, sluggishly paced, and oftentimes confusing film that relies too heavily on dialogue and not nearly enough on action. Some of the most interesting and important events of the muddy storyline occur offscreen and are (rather sloppily) explained through its characters\u2019 bland conversations. The film sporadically boasts some impressive filmmaking and it does feature some fine performances by Oscar Isaac, Tye Sheridan, Willem Dafoe, and Tiffany Haddish\u2014but none of it is enough to save the film from its own painfully uninteresting execution.<\/p>\n\n\n\n

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

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Tom Holland and Daisy Ridley in Chaos Walking<\/figcaption><\/figure>\n\n\n\n

Chaos Walking<\/strong><\/p>\n\n\n\n

This often-delayed, extensively reshot trouble production is much better than word-of-mouth suggests it to be. Once you forgive it for thrusting you into a very complex world with little explanation or guidance, Chaos Walking <\/em>is actually a pretty cool movie filled with inventive ideas, exciting adventure, and likable characters. Its storytelling may be a little rough-around-the-edges (particularly in its first half-hour), but the film\u2019s many positive attributes ultimately enable it to succeed.<\/p>\n\n\n\n

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

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Tom Holland in Cherry<\/figcaption><\/figure>\n\n\n\n

Cherry<\/strong><\/p>\n\n\n\n

Most critics have been rather unkind to Cherry. <\/em>While it may not cover any new ground about the highs and lows of heroin addiction, it is still a supremely enthralling film told with innovation and style. Directors Anthony and Joe Russo make even the most clich\u00e9d moments (of which there are a few) feel fresh and exciting. Tom Holland delivers a focused and sympathetic performance as the film\u2019s downward-spiraling protagonist.<\/p>\n\n\n\n

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

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Emilia Jones in CODA<\/figcaption><\/figure>\n\n\n\n

CODA<\/strong><\/p>\n\n\n\n

A teenage girl (the excellent Emilia Jones) who is the only hearing person in her otherwise deaf family decides that she wants to leave the family\u2019s fishing business in order to attend music school.<\/p>\n\n\n\n

CODA <\/em>(which stands for Child of Deaf Adults) is a funny, inclusive, and completely heartwarming film that provides an important and pity-free glimpse into the private lives of people with disabilities. It\u2019s a nice film that doesn\u2019t push any buttons with a storyline that doesn\u2019t take too many risks, but that doesn\u2019t prevent it from being a highly enjoyable and informative experience. Troy Kostur, Marlee Matlin, and Daniel Durant are all exceptional as the members of Jones\u2019 family.<\/p>\n\n\n\n

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

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Arsenio Hall and Eddie Murphy in Coming 2 America<\/figcaption><\/figure>\n\n\n\n

Coming 2 America<\/strong><\/p>\n\n\n\n

You can tell that the makers of this sequel to the 1988 Eddie Murphy classic are enormous fans of the original film, as they spend far too much screen time paying homage to it. Though it has its moments of inspiration, there\u2019s not enough care put into breaking any new ground this time around. Still, if you\u2019re a fan of the original, this effort will likely bring a smile to your face. Coming 2 America <\/em>is a fun enough movie to be modestly worthwhile, but not nearly funny enough to be great.<\/p>\n\n\n\n

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

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Idris Elba in Concrete Cowoy<\/figcaption><\/figure>\n\n\n\n

Concrete Cowboy<\/strong><\/p>\n\n\n\n

Centering on a group of Black cowboys in modern-day Northern Philadelphia, Concrete Cowboy <\/em>is a genuine, affable, and heartfelt presentation of one of America\u2019s lesser-known subcultures. Idris Elba oozes charisma and humanity as an estranged father who is forced to care for his troubled teenage son (the excellent Caleb McLaughlin).<\/p>\n\n\n\n

Concrete Cowboy <\/em>is simple and elegant. Its story is told with humor and artistry, and it presents characters who are as unique as they are believably relatable. It\u2019s a rare film about rare people, and it\u2019s an unforgettable introduction to a world that remains primarily hidden.<\/p>\n\n\n\n

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

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Vera Farmiga in The Conjuring: The Devil Made Me Do It<\/figcaption><\/figure>\n\n\n\n

The Conjuring: The Devil Made Me Do It<\/strong><\/p>\n\n\n\n

The onscreen return of the adorably devoted paranormal investigation team of Ed and Lorraine Warren is a welcome one. The characters, portrayed with commitment and ease by Patrick Wilson and Vera Farmiga, are indisputably the highlight of this third entry in the Conjuring <\/em>series.<\/p>\n\n\n\n

Disappointingly, the storyline is rather flat this time around, featuring supporting characters that are so underdeveloped and uninteresting that their fate feels inconsequential. Though Wilson\u2019s and Farmiga\u2019s irreplaceable chemistry somewhat salvages the film, The Conjuring: The Devil Made Me Do It<\/em> is more mildly interesting than it is engrossing, and more harmlessly spooky than it is terrifying.<\/p>\n\n\n\n

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

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Gerard Butler in Copshop<\/figcaption><\/figure>\n\n\n\n

Copshop<\/strong><\/p>\n\n\n\n

Cowriter\/director Joe Carnahan\u2019s film centers on a conman (Frank Grillo) who has to fend off a hitman (Gerard Butler) while being detained in a small-town police station. Copshop <\/em>is filled to the brim with witty dialogue, humorous moments, and riveting action sequences. It is a wholly entertaining movie, but the specifics of its storyline and the characters that inhabit it are sometimes a bit unclear. The film still works rather well, however, despite its few drawbacks. Grillo, Butler, Alexis Louder, and Toby Huss all deliver lively and memorable performances.<\/p>\n\n\n\n

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

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Bruce Willis in Cosmic Sin<\/figcaption><\/figure>\n\n\n\n

Cosmic Sin<\/strong><\/p>\n\n\n\n

It\u2019s hard to say that Frank Grillo and Bruce Willis star in this sci-fi actioner, though they are both somewhat prominently featured in it. Their names obviously gave the film the commercial boost it needed to get financed, and they\u2019re in the movie just enough so audiences won\u2019t feel cheated after seeing their faces on the film\u2019s promotional images. One has to wonder if they bothered to read the script, however, as its characters are as thinly drawn as its story is as incomprehensible.<\/p>\n\n\n\n

That said, there is just enough style, well-executed action, and cool low-budget digital effects to make the film marginally better than it should be.<\/p>\n\n\n\n

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

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Emma Stone in Cruella<\/figcaption><\/figure>\n\n\n\n

Cruella<\/strong><\/p>\n\n\n\n

I, Cruella <\/em>would have been a more fitting title. I, Tonya <\/em>director Graig Gillespie retreads ground he already covered quite well in his previous film with this live-action prequel to Disney\u2019s 101 Dalmatians<\/em>. Humorously one-sided voice-over narration from a morally ambiguous protagonist, constantly sweeping and\/or roaming Steadicam shots, and an endless parade of scenes scored to 70s pop music dominate the film\u2019s style. While these elements might have been amusingly effective if used sparsely, their highly excessive presence is, quite simply, exhausting.<\/p>\n\n\n\n

Still, the film is not without its merits. Emma Stone, Emma Thompson, Mark Strong, Joel Fry, and Paul Walter Hauser all deliver theatrical and infectiously fun performances. Cruella <\/em>does grow classier and more toned-down in its second half, ultimately reaching a somewhat satisfying conclusion. Despite several missteps, Gillespie does prove yet again that he is a highly gifted filmmaker. Next time, he just needs to get out of the way of his own movie.<\/p>\n\n\n\n

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

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Clint Eastwood in Cry Macho<\/figcaption><\/figure>\n\n\n\n

Cry Macho<\/strong><\/p>\n\n\n\n

Director Clint Eastwood also stars as a former rodeo rider who goes on a road trip to Mexico to retrieve a friend\u2019s troubled son. Cry Macho <\/em>is an insightful character study that provides a surprisingly sensitive examination of masculinity and what it truly takes to be a good man in today\u2019s world. It\u2019s the perfect movie for Eastwood at this stage in his life and career. While the steadily-paced film isn\u2019t exactly brimming with urgency, it still succeeds because of its simple and pleasant execution and its quietly meditative nature.<\/p>\n\n\n\n

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

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Ralph Fiennes in The Dig<\/figcaption><\/figure>\n\n\n\n

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

The Dig <\/em>is based on true events surrounding the archaeological excavation of Sutton Hoo in 1938. Ralph Fiennes gives a typically flawless performance as Basil Brown, an untrained but brilliant archaeologist whose unorthodox methods weren\u2019t fully appreciated in his lifetime.<\/p>\n\n\n\n

While the film works as an intellectually stimulating history lesson, it, unfortunately, falls quite flat as a piece of drama. Instead of having the movie\u2019s full attention, the fascinating character of Brown gets frustratingly lost in its overcrowded and overambitious design. The Dig<\/em>\u2019s increasingly sprawling story structure spends far too much screen time developing secondary characters that are far less interesting. A simpler and more direct route would have benefitted Brown\u2019s story much more appropriately.<\/p>\n\n\n\n

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

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Stephen Lang in Don’t Breathe 2<\/figcaption><\/figure>\n\n\n\n

Don\u2019t Breathe 2<\/strong><\/p>\n\n\n\n

This sequel to the 2016 nail-biter lacks the effective simplicity of its predecessor by featuring a storyline that is slightly too involved for its own good. Don\u2019t Breathe 2 <\/em>is still a moderately engrossing horror\/thriller, however, that pretty much achieves what it sets out to accomplish in its own gruesomely entertaining way.<\/p>\n\n\n\n

The great Stephen Lang is the film\u2019s primary highlight with his riveting return to the role of the otherwise unnamed The Blind Man. Lang, who was the first film\u2019s villain, is, quite cleverly, this film\u2019s oddly sympathetic (but still highly dangerous) protagonist.<\/p>\n\n\n\n

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

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Jennifer Lawrence and Leonardo DiCaprio in Don’t Look UP<\/figcaption><\/figure>\n\n\n\n

Don\u2019t Look Up<\/strong><\/p>\n\n\n\n

Co-writer\/director Adam McKay\u2019s latest is a timely, uncompromising, and biting piece of satire. Don\u2019t Look Up <\/em>is the perfect movie for today\u2019s shaky political climate, and a telling representation of how easily we shrug off immediate danger to our planet. Leonardo DiCaprio and Jennifer Lawrence are both excellent in lead roles, portraying astronomers who have to face the mainstream media to inform the world of its imminent demise.<\/p>\n\n\n\n

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

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Timothee Chalamet in Dune<\/figcaption><\/figure>\n\n\n\n

Dune<\/strong><\/p>\n\n\n\n

The most recent adaptation of Frank Herbert\u2019s Dune <\/em>is a victim of its own hype. Designed to be the beginning of a new cinematic universe, the film feels more like an intriguing and complex series pilot than it does its own standalone story. Though it is an impressive and exquisitely crafted accomplishment, the film lacks the heart and character of David Lynch\u2019s inherently flawed but still beautiful 1984 adaptation of the same material. The new Dune <\/em>presents its dense storyline and multiple characters in a surprisingly coherent fashion (which in and of itself is an improvement over Lynch\u2019s film), but it forgets to make us care.<\/p>\n\n\n\n

Director Denis Villeneuve presents the story\u2019s many events in visually hypnotic snippets that favor information over emotionally engaging tension or drama. The uneven film has a cluttered and exposition-heavy first third, a haphazardly paced middle section, and a final act that just starts to find its footing when it abruptly and unsatisfactorily ends. Dune <\/em>could still prove to be the beginning of something great, but it, unfortunately, falls short of being a great beginning.<\/p>\n\n\n\n

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

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The cast of The Eternals<\/figcaption><\/figure>\n\n\n\n

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

The MCU makes a fairly hefty misstep with this overcrowded and downright sloppy entry into their canon. The film opens with a haphazardly nonlinear first act that essentially needs a roadmap to be followed. The film plays like it\u2019s rushing to catch up to The Avengers<\/em> throughout its duration, as it is saturated with far too many new and underdeveloped characters. The Eternals<\/em> should have had five or six movies preceding it that feature and flesh out its superheroes before they were thrown into one massive (and overly long) movie together.<\/p>\n\n\n\n

There is plenty of spectacle and adventure to make the film moderately entertaining, however, and it does manage to pick up some momentum during its last act. That being said, the film is an overall frustrating and highly underwhelming effort that fails to fully captivate or impress.<\/p>\n\n\n\n

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

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Casey Affleck and Sam Claflin in Every Breath You Take<\/figcaption><\/figure>\n\n\n\n

Every Breath You Take<\/strong><\/p>\n\n\n\n

Casey Affleck portrays a psychiatrist whose family is stalked by the unstable brother of a deceased patient in this modestly engrossing thriller. A well-written script by David Murray and excellent performances by Affleck, Michelle Monaghan, Sam Claflin, Emily Alyn Lind, and India Eisley make Every Breath You Take<\/em> rise above its generic presentation. Something of a milder, updated Cape Fear, <\/em>the film is a solid, though occasionally underwhelming, effort that gets its job done.<\/p>\n\n\n\n

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

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Jessica Chastain in The Eyes of Tammy Faye<\/figcaption><\/figure>\n\n\n\n

The Eyes of Tammy Faye<\/strong><\/p>\n\n\n\n

Director Michael Showalter delivers a sympathetic depiction of the notorious husband\/wife televangelist team of Jim and Tammy Faye Bakker with this thoughtful and revelatory biopic. The characters\u2014who could have so easily been treated as a one-dimensional joke\u2014are shown as complex human beings who truly believe in what they are doing but are unable to control the inherent flaws that lead to their devastating downfall. The Eyes of Tammy Faye <\/em>never takes the obvious route with its subjects and is ultimately an intelligent examination of the hypocritical, corrupt, and cutthroat business behind organized Christianity.<\/p>\n\n\n\n

In its ambitious efforts to cram a lot of information into a two-hour runtime, the film does glaze over a number of pertinent details (the Bakker children, Jim\u2019s supposed homosexual tendencies) and falls slightly dramatically short as a result. The film is marginally hurt by its common biopic structure, and it would have benefitted by covering fewer events with more focus. Jessica Chastain helps the viewer look past such minor faults, however, with a downright brilliant and intricately layered portrayal of the baby-voiced, overly made-up title character who is much more than meets the eye. Andrew Garfield also provides excellent support as her well-intentioned but deeply and morally confused spouse.<\/p>\n\n\n\n

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

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Vin Diesel and John Cena in F9: The Fast Sago<\/figcaption><\/figure>\n\n\n\n

F9: The Fast Saga<\/strong><\/p>\n\n\n\n

If you\u2019re a fan of the Fast & Furious<\/em> series, then this ninth installment will deliver all the heart, machismo, roaring engines, ludicrous action, and unbelievable stunts you could possibly desire. If you\u2019re not, then it\u2019s probably best to skip this one because it\u2019s pretty much more of the same\u2014just, at times, insanely and amusingly bigger (they drive a car in outer f*#$ing space, guys).  John Cena is a welcome addition to the familiar ensemble cast.<\/p>\n\n\n\n

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

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Justin Theroux and Ilana Glazer in False Positive<\/figcaption><\/figure>\n\n\n\n

False Positive<\/strong><\/p>\n\n\n\n

Offering a nightmarish take on infertility treatment, False Positive <\/em>is a film whose premise is more interesting on paper than its uninspired execution allows it to be in reality. The film has a fine cast (Ilana Glazer, Justin Theroux, Pierce Brosnan, Gretchen Mol) that does its best to keep things grounded in reality. It also contains an unsettling atmosphere that effectively (though sporadically) produces tension.<\/p>\n\n\n\n

The film\u2019s highly sluggish pacing and underdeveloped storyline can\u2019t help but mar it considerably, however. Though it has some positive attributes, False Positive <\/em>is, overall, a disappointing waste of good ideas and considerable talent.<\/p>\n\n\n\n

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

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Kevin Hart and Melody Hurd in Fatherhood<\/figcaption><\/figure>\n\n\n\n

Fatherhood<\/strong><\/p>\n\n\n\n

Kevin Hart simply shines in this genuinely funny and heartwarming film about the struggles of being a single parent. Though it can be a bit too formulaic, long-winded, and cutesy for its own good, the film is still surprisingly moving and intelligent. The supporting cast\u2014featuring such heavyweights as Alfre Woodard, Frankie Faison, Paul Reiser, Anthony Carrigan, and Lil Rel Howery–is flawless. Director Paul Weitz keeps the tone fresh and lively while masterfully balancing comedy and drama.<\/p>\n\n\n\n

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

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Madison Iseman and Eugenie Bondurant in Fear of Rain<\/figcaption><\/figure>\n\n\n\n

Fear of Rain<\/strong><\/p>\n\n\n\n

A schizophrenic teenage girl (Madison Iseman) suspects that her teacher and neighbor (Eugenie Bondurant) has kidnapped a child, but is unable to tell whether or not her suspicions are the product of delusion.<\/p>\n\n\n\n

Writer\/director Castille Landon\u2019s masterful Fear of Rain<\/em> succeeds on multiple levels. It is a suspenseful and engrossing mystery\/thriller that keeps its audience guessing until the very end. It\u2019s also a highly evocative and impressively sensitive depiction of mental illness that refuses to cheapen itself with easy resolutions or exploitative gimmicks. Iseman delivers a powerhouse performance, effortlessly conveying the complexities and pain of her character\u2019s illness.<\/p>\n\n\n\n

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

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Ronnie Gene Blevins in Feral State<\/figcaption><\/figure>\n\n\n\n

Feral State<\/strong><\/p>\n\n\n\n

Feral State <\/em>had potential that is only partially realized. It is a sometimes-hypnotic film that centers on a gang of Florida runaways who are led by a cult-like father figure (an excellent Ronnie Gene Blevins). Despite its uniqueness and unpredictability, the film often suffers due to an unstructured story, clumsy staging, and some rather amateurish performances.<\/p>\n\n\n\n

A questionable subplot involving a detective character (AnnaLynne McCord) sticks out rather glaringly, and it doesn\u2019t help matters that her scenes have the lowest production value in the film.<\/p>\n\n\n\n

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

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

Finch<\/strong><\/p>\n\n\n\n

Tom Hanks stars as a terminally ill loner who lives in a globally warmed, post-apocalyptic world with his beloved dog and the robot (voiced by the fantastic Caleb Landry Jones) he built to care for it. Finch <\/em>doesn\u2019t always seem to know who it\u2019s playing to, as it explores many darker themes that are geared towards adults while also containing moments of bubbly silliness that seem to be directed more towards children. As a result, the film is a bit tonally jagged, but not enough to prevent it from being an overall success.<\/p>\n\n\n\n

Finch <\/em>is ultimately a highly moving, wholly engrossing, and intelligently contemplative film that should appeal to science fiction fans and dog lovers alike.<\/p>\n\n\n\n

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

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Sean Penn and Dylan Penn in Flag Day<\/figcaption><\/figure>\n\n\n\n

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

Director\/costar Sean Penn delivers an emotionally impactful film that centers on the true-life story of a daughter\u2019s (Dylan Penn) relationship with her criminal, pathologically dishonest, yet endearingly charismatic father (Penn). Flag Day <\/em>is an astute character study as well as an examination of the complexities behind a broken but loving parent\/child relationship.<\/p>\n\n\n\n

The film is a tad heavy-handed during select moments, and its occasionally haphazard pacing is a bit too choppy in spots and too draggy in others. The overall strength of the story, the lead performances, and Penn\u2019s grittily assured filmmaking enable the film to rise above its minor faults, however. The two Penns (who are father and daughter in real-life) share a believable and lifelike chemistry that makes the film all the more powerful and relatable.<\/p>\n\n\n\n

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

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Glenn Close and Mila Kunis in Four Good Days<\/figcaption><\/figure>\n\n\n\n

Four Good Days<\/strong><\/p>\n\n\n\n

Dramas that deal with substance abuse and addiction are basically a genre in and of themselves, anymore. They are stories we know quite well, and most of them follow a formula that presents the highs, the lows, the pain, the suffering, and the harrowing effects on family members before they end in triumph or tragedy. That being said, as long as the film presents the disease of addiction with unflinching honesty, then it\u2019s still a pertinent subject matter that deserves attention and exploration.<\/p>\n\n\n\n

Despite being yet another addiction story that follows all of the above criteria, Four Good Days <\/em>is still a worthwhile effort because of its integrity, its painful attention to detail, and its striking emotional honesty. Glenn Close and Mila Kunis give two powerhouse performances as a mother and daughter grappling with the latter\u2019s opioid addiction. The story may be something we\u2019ve all seen before, but the power and care with which it is executed makes it seem like one that urgently needs to be told.<\/p>\n\n\n\n

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

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Ryan Reynolds and Jodie Comer in Free Guy<\/figcaption><\/figure>\n\n\n\n

Free Guy<\/strong><\/p>\n\n\n\n

Ryan Reynolds stars as the background character of a video game who goes against his programming to take control of his destiny. Free Guy <\/em>is a fun, funny, and endlessly innovative movie that fully explores its unique concept. The film\u2019s only fault is that it is overstuffed with too many ideas, forcing it to run about twenty minutes too long and making its pacing a bit uneven. Reynolds is as sarcastically innocent and as charismatic as he\u2019s ever been.<\/p>\n\n\n\n

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

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The French Dispatch<\/figcaption><\/figure>\n\n\n\n

The French Dispatch<\/strong><\/p>\n\n\n\n

This film from writer\/director Wes Anderson is yet another quirky, star-studded, meticulously and obsessively detailed entry on his resume. Despite its exquisite artistry, however, the multi-storied and multi-character film never stays on one topic long enough to fully captivate its audience. The frustratingly overcrowded narrative deserves credit for its ambition, but that ambition is also the primary reason for the film\u2019s lack of inclusivity and focus.<\/p>\n\n\n\n

It\u2019s easy to admire The French Dispatch <\/em>for its ingenuity and craftsmanship, but its undisciplined storytelling (if you can call it that) makes it equally difficult to care about anything that happens within it.<\/p>\n\n\n\n

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

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Logan Kim and McKenna Grace in Ghostbusters: Afterlife<\/figcaption><\/figure>\n\n\n\n

Ghostbusters: Afterlife<\/strong><\/p>\n\n\n\n

This innocently funny, harmlessly entertaining, and family-oriented piece of pop culture nostalgia is nothing short of a joy. It impressively appeases the fans of the original two Ghostbusters <\/em>films while introducing and developing new storylines and characters that are worthy of their own film. Ghostbusters: Afterlife<\/em> sometimes gets a little too cutesy for its own good, but it overall works in the way it\u2019s supposed to, delivering something fresh and inventive while still appealing to some great and classic cinematic memories.<\/p>\n\n\n\n

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

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Godzilla Versus Kong<\/figcaption><\/figure>\n\n\n\n

Godzilla Versus Kong<\/strong><\/p>\n\n\n\n

You have to give Godzilla Versus Kong <\/em>credit: it, at the very least, tries<\/em> to be a little bit more than an hour-plus build-up to over thirty minutes of oversized monster mayhem and destruction. It tries <\/em>to have relatable human characters and even goes so far as to cast some highly talented individuals (namely Alexander Skarsgard and Millie Bobby Brown) in key roles. It tries <\/em>to have a stimulating and memorable storyline that complements the digital spectacle that is the film\u2019s primary selling point.<\/p>\n\n\n\n

Does it succeed? Only partially, but that shouldn\u2019t affect those seeking a monstrously good time from enjoying it immensely. Those seeking out something a tad more substantial and memorable, however, might be in for some Kong-sized disappointment.<\/p>\n\n\n\n

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

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Iliza Shlesinger and Ryan Hansen in Good on Paper<\/figcaption><\/figure>\n\n\n\n

Good on Paper<\/strong><\/p>\n\n\n\n

Iliza Shlesinger wrote the screenplay for and stars in this darkly comedic movie about a stand-up comedienne who falls for a seemingly great guy (a believably conniving Ryan Hansen) who might not be exactly who he claims.<\/p>\n\n\n\n

Though the film is perfectly clever and witty, it also lacks big laughs or moments of real surprise. While it\u2019s too entertaining to be labeled as flat, it\u2019s not quite colorful or inventive enough to be great. Still, Shlesinger\u2019s strong and likable screen presence carries the film with ease, making Good on Paper<\/em> perfectly (though somewhat mildly) enjoyable.<\/p>\n\n\n\n

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

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Jake Gyllenhaal in The Guilty<\/figcaption><\/figure>\n\n\n\n

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

This Nic Pizzolatto-scripted, Antoine Fuqua-directed remake of the Danish dramatic thriller, Den Skyldige<\/em>, stars Jake Gyllenhaal as a suspended police officer who is demoted to emergency dispatch. When he receives a call from a kidnapped woman, he becomes obsessed with saving her at any cost.<\/p>\n\n\n\n

The Guilty <\/em>is as much of a brilliant and complex character study as it is an intense and wholly engaging thriller. The small-scale, effectively confined film redeems Fuqua of some of his more recent and flatter big-budget studio offerings. Gyllenhaal delivers another standout performance, believably portraying a gruff, often-unlikable, and inherently flawed man who can\u2019t help but rise to the occasion when he comes across someone in desperate need of help.<\/p>\n\n\n\n

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

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Karen Gillan and Chloe Coleman in Gunpowder Milkshake<\/figcaption><\/figure>\n\n\n\n

Gunpowder Milkshake<\/strong><\/p>\n\n\n\n

Though it lacks originality in its storyline and in its cool, detached, and stylized presentations of graphic violence, Gunpowder Milkshake <\/em>is still an entertaining and energetic film. Quirky humor, good performances, cleverly staged action, and downright beautiful cinematography (by Michael Seresin) make the film stand on its own when compared to the predecessors\u2014Tarantino, Super<\/em>, Kick-Ass,<\/em> Kingsman<\/em>\u2014that so clearly influenced it.<\/p>\n\n\n\n

Lead Karen Gillan (Nebula from the Guardians of the Galaxy <\/em>movies) is a believable and likable badass who has the presence and physicality of a bona fide action star.<\/p>\n\n\n\n

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

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Halloween Kills<\/figcaption><\/figure>\n\n\n\n

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

Halloween Kills <\/em>picks up right where 2018\u2019s Halloween <\/em>left off. It is a consistently engaging and suspenseful sequel that is executed with skill and quality. It lacks the effective simplicity of its predecessors, however, with an over-ambitious narrative that features too many loosely connected storylines and characters. Halloween Kills<\/em> never loses its audience, but its overall impact is flattened because it isn\u2019t always clear with who or what we should be focusing on.<\/p>\n\n\n\n

Despite its imperfections, if you\u2019re looking for a well-crafted, bloodily entertaining horror flick with a high body count, you can do far worse than Halloween Kills.<\/em><\/p>\n\n\n\n

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

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Regina King and Idris Elba in The Harder They Fall<\/figcaption><\/figure>\n\n\n\n

The Harder They Fall<\/strong><\/p>\n\n\n\n

A downright fantastic cast (Regina King, LaKeith Stanfield, Idris Elba, Delroy Lindo, etc.) can\u2019t quite overcome this film\u2019s shamelessly distracting style and obnoxiously self-congratulating cleverness.<\/p>\n\n\n\n

Director\/co-writer Jeymes Samuel shows promise, particularly with his handling of intense action sequences and extreme dramatic moments. His constant efforts to show off his Tarantino\/Raimi-inspired presence behind the camera do nothing to aid the film, however. Like many gifted filmmakers, Samuel needs to stay out of his own way and focus on what\u2019s best for his story and his cast next time he directs a feature.<\/p>\n\n\n\n

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

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Ryan Reynolds, Salma Hayek, and Samuel L. Jackson in Hitman’s Wife’s Bodyguard<\/figcaption><\/figure>\n\n\n\n

Hitman\u2019s Wife\u2019s Bodyguard<\/strong><\/p>\n\n\n\n

This sequel to the 2017 action\/comedy, The Hitman\u2019s Bodyguard,<\/em> is a moderately entertaining but often obnoxiously overstuffed effort. The mind-numbing and thin storyline is uninspired and littered with far too many underdeveloped side characters. The film still delivers its fair share of excitement and laughs, but its overall impact is frustratingly uneven.<\/p>\n\n\n\n

Ryan Reynolds, Samuel L. Jackson, Antonio Banderas, and Morgan Freeman all deliver amusing and solid performances, but it\u2019s Salma Hayek\u2019s portrayal of Jackson\u2019s hilariously (and psychotically) impassioned wife that truly steals the show.<\/p>\n\n\n\n

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

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Lady Gaga in House of Gucci<\/figcaption><\/figure>\n\n\n\n

House of Gucci<\/strong><\/p>\n\n\n\n

Director Ridley Scott lends his impeccable eye and unstoppable talents to this reality-based depiction of the deceits and betrayals that went on behind the scenes of the Gucci fashion empire in the eighties and nineties.<\/p>\n\n\n\n

House of Gucci <\/em>is a beautifully photographed, exquisitely designed, and strikingly crafted film that sucks the viewer in and never lets go until the end credits roll. Colorful, lively, and slyly humorous, the evenly paced film never lets the audience feel its near 160-minute runtime. From beginning to end, it is a wholly captivating viewing experience. Lady Gaga, Adam Driver, Al Pacino, Jeremy Irons, Jared Leto, and Salma Hayek all deliver outstanding performances.<\/p>\n\n\n\n

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

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Kate Siegel in Hypnotic<\/figcaption><\/figure>\n\n\n\n

Hypnotic<\/strong><\/p>\n\n\n\n

The always-watchable Kate Siegel stars as a woman who discovers that her new hypnotherapist (Jason O\u2019Mara) may have sinister intentions. The quality of the filmmaking and the strength of Siegel\u2019s performance make Hypnotic <\/em>rise above its generic, made-for-cable thriller formula. The film is nothing groundbreaking, but it is a well-paced and perfectly entertaining way to spend ninety minutes of your time.<\/p>\n\n\n\n

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

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Erica Wessels in I Am All Girls<\/figcaption><\/figure>\n\n\n\n

I Am All Girls<\/strong><\/p>\n\n\n\n

Given its subject matter, I Am All Girls <\/em>is a justifiably unpleasant viewing experience. The South Africa-set thriller revolves around child sex trafficking, a topic that needs as much light as possible shed upon it. The film provokes thought and contains some gripping scenes of action and suspense. Its somewhat familiar and uninspired execution prevents it from ever fully taking flight, however.<\/p>\n\n\n\n

Erica Wessels and Hlubi Mboya both give intense and heartfelt lead performances, successfully compensating for their underwritten characters. Though its impact is somewhat impeded by its flaws, I Am All Girls<\/em> delivers an important message while telling an overall compelling story.<\/p>\n\n\n\n

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

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Rosamund Pike in I Care a Lot<\/figcaption><\/figure>\n\n\n\n

I Care A Lot<\/strong><\/p>\n\n\n\n

Rosamund Pike stars as an ice-cold sociopath who survives by scamming the elderly out of everything they own.  She soon meets her match when she targets the wrong woman (Diane Wiest) who happens to have ties with a gangster (Peter Dinklage).<\/p>\n\n\n\n

Nasty, fast, and fun, the movie is an enjoyable, if not entirely memorable, dark comedy\/thriller that contains some deliciously amoral characters and some darkly entertaining predicaments. Even with its enjoyably snappy dialogue exchanges and razor-sharp performances all around, the film isn\u2019t quite meaty enough to be more than a simple, down-and-dirty good time.<\/p>\n\n\n\n

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

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Liam Neeson in The Ice Road<\/figcaption><\/figure>\n\n\n\n

The Ice Road<\/strong><\/p>\n\n\n\n

Liam Neeson stars as a truck driver who has to save a group of trapped miners by hauling his rig over a dangerous ice road on top of the Arctic Ocean. Writer\/director Jonathan Hensleigh provides the film with the appropriate amount of suspense and action. Though it\u2019s a bit too predictable and formulaic to be anything spectacular, The Ice Road<\/em> is an overall engrossing and well-made action\/thriller.<\/p>\n\n\n\n

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

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Mark Wahlberg in Infinite<\/figcaption><\/figure>\n\n\n\n

Infinite<\/strong><\/p>\n\n\n\n

Mark Wahlberg stars in this Antoine Fuqua-directed sci-fi actioner. Given Fuqua\u2019s exceptional talent, it should come as no surprise that the film contains a number of engaging and well-staged action sequences. These sequences become increasingly far-fetched, however, and their lack of believability becomes a distraction. It also doesn\u2019t help matters that the reincarnation-themed plot is too convoluted and poorly explained to hold interest.<\/p>\n\n\n\n

Though well made on a technical level, Infinite <\/em>is often hindered by its lack of simplicity in design and execution.<\/p>\n\n\n\n

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

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Logan Marshall-Green and Freida Pinto in Intrusion<\/figcaption><\/figure>\n\n\n\n

Intrusion<\/strong><\/p>\n\n\n\n

After two home invasions, a young woman\u2019s (Freida Pinto) world is turned upside down as she begins to see that her life isn\u2019t exactly as it seems. Director Adam Salky\u2019s bold vision and Chris Sparling\u2019s cleverly twisty screenplay save the film from the potentially predictable trappings of its somewhat generic premise. Grounded performances by Pinto and costar Logan Marshall-Green and a noteworthy and intense musical score by Alex Heffes also aid the film significantly.<\/p>\n\n\n\n

Well-made and skillfully executed, Intrusion <\/em>is a solid edge-of-your-seat thriller filled with a number of nice surprises.<\/p>\n\n\n\n

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

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Oliver Stone in JFK Revisited: Through the Looking Glass<\/figcaption><\/figure>\n\n\n\n

JFK Revisited: Through the Looking Glass<\/strong><\/p>\n\n\n\n

This documentary by director Oliver Stone is a follow-up to his 1991, Kevin Costner-starring dramatization of the complex investigation into the assassination of President John F. Kennedy in 1963. A satisfying mixture of both old and new (thanks to now-declassified documents) information is presented in an easily understandable and enthralling way. Stone\u2019s gift for making history exciting is on full display in this highly memorable and thought-provoking film.<\/p>\n\n\n\n

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

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Reid Miller and Mark Wahlberg in Joe Bell<\/figcaption><\/figure>\n\n\n\n

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

Mark Wahlberg gives his best performance since The Departed <\/em>in this thoroughly moving and uncompromisingly powerful film. He portrays a father on a mission to walk across the country to spread a message of tolerance in order to honor his bullied gay son (an excellent and painfully vulnerable Reid Miller).<\/p>\n\n\n\n

Joe Bell <\/em>presents its themes with honesty and grit, avoiding cheap and manipulative sentiment that could have easily been added to make it more commercially palatable. It\u2019s a strong movie with a huge heart and a clear point that is made while still respecting its audience\u2019s intelligence. It\u2019s a truly nice surprise to see Wahlberg challenge himself and access emotions most of today\u2019s audiences never knew he had.<\/p>\n\n\n\n

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

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Kate Beckinsale in Jolt<\/figcaption><\/figure>\n\n\n\n

Jolt<\/strong><\/p>\n\n\n\n

This fast, funny action-comedy is a hyperkinetic good time that thankfully knows not to overstay its welcome with a lean, ninety-one-minute runtime. Kate Beckinsale delivers a delightfully aggressive performance as a woman with impulse control problems who sets out to avenge the death of the only man (Jai Courtney) she never wanted to kill with her bare hands. Though the film has little new to offer with its stylishly hip depictions of violence, it is still a brutally humorous and entertaining effort.<\/p>\n\n\n\n

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

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Daniel Kaluuya and LaKeith Stanfield in Judas and the Black Messiah<\/figcaption><\/figure>\n\n\n\n

Judas and the Black Messiah<\/strong><\/p>\n\n\n\n

In spite of good intentions, some strong filmmaking, and two flawless lead performances (LaKeith Stanfield and Daniel Kaluuya), Judas and the Black Messiah<\/em> is a film that falls dramatically flat in every conceivable way.<\/p>\n\n\n\n

Telling the story of the fall of the Black Panther Party Chairman Fred Hampton (Kaluuya), the film functionally presents its characters while serving as a viable history lesson. The film fails at exposing Hampton\u2019s heart, however, and doesn\u2019t even begin to relay what the Black Panther Party truly stood for. The film merely exists, resembling the cold and unrelatable experience of reading a high school history textbook.<\/p>\n\n\n\n

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

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Dwayne Johnson and Emily Blunt in Jungle Cruise<\/figcaption><\/figure>\n\n\n\n

Jungle Cruise<\/strong><\/p>\n\n\n\n

The latest cinematic adaptation of a Disney theme park ride is an appropriately light and breezy viewing experience. While it hardly breaks any new ground, it will bring a smile to your face if you can allow yourself to let go of logic, sit back, and enjoy it.<\/p>\n\n\n\n

Jungle Cruise <\/em>never ceases to be a fun time, as it is filled with adventure, spectacle, and endearingly silly humor. Stars Dwayne Johnson and Emily Blunt share a wonderfully playful onscreen chemistry. They also receive excellent support from costars Jesse Plemons, Edgar Ramirez, and Paul Giamatti.<\/p>\n\n\n\n

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

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Mary Elizabeth Winstead in Kate<\/figcaption><\/figure>\n\n\n\n

Kate<\/strong><\/p>\n\n\n\n

Kate <\/em>has a lot going for it. It boasts some of the most impressively and beautifully staged action sequences in recent memory. It also takes full advantage of its downtown Tokyo setting and showcases some downright gorgeous cinematography by Lyle Vincent. Lastly, it features a believably fierce and laser-focused lead performance by Mary Elizabeth Winstead.<\/p>\n\n\n\n

Despite its many positives, Kate <\/em>fails to meet its potential because of an uninspired and underdeveloped screenplay. The storyline\u2014a female assassin (Winstead) has 24 hours to find who gave her a lethal dose of poison\u2014needs more humanity and heart to combat its unoriginality. We\u2019ve simply seen too many previous variations of this character and storyline, and we\u2019re given too few reasons to care about this one. Aside from its exceptional production value, the film falls, quite disappointingly, flat.<\/p>\n\n\n\n

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

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Will Smith in King Richard<\/figcaption><\/figure>\n\n\n\n

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

Based on the true story of the rise of tennis stars Venus and Serena Williams, King Richard <\/em>is an informative and heartfelt film about the power of tunnel vision and perseverance when trying to achieve seemingly impossible goals. Though the film is a bit too tidy in its portrayal of blind ambition, it still manages to be a moving and inspirational tale. Will Smith delivers an Oscar-worthy performance as the Williams\u2019 hard-pushing yet loving father.<\/p>\n\n\n\n

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

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Harris Dickinson and Ralph Fiennes in The King’s Man<\/figcaption><\/figure>\n\n\n\n

The King\u2019s Man<\/strong><\/p>\n\n\n\n

This prequel to the Kingsman <\/em>movies doesn\u2019t live up to its potential or to the heart, character, and energy of its predecessors. Despite a great cast, some well-staged action sequences, clever camera angles, and impressive digital effects, The King\u2019s Man <\/em>is a predominantly stuffy, dull, and uneven film that fails to fully engage its audience for the majority of its duration.<\/p>\n\n\n\n

The overcrowded storyline is difficult to follow and the film\u2019s overall flow is painfully disjointed. The film\u2019s many faults can be somewhat forgiven due to its entertaining, suspenseful, and inventive last act, but it\u2019s, unfortunately, too little and too late at that point to make the film one that is worth recommending.<\/p>\n\n\n\n

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

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Robin Wright in Land<\/figcaption><\/figure>\n\n\n\n

Land<\/strong><\/p>\n\n\n\n

Robin Wright makes a capable and solid directorial debut with this moving drama about loss and the rediscovery of one\u2019s broken spirit. Wright also stars, giving an exceptionally strong performance, as a grieving woman who cuts herself off from humanity to live in a cabin in the woods. Land <\/em>has a particularly strong first act, its pacing drags slightly towards its mid-section, but it recovers with an emotionally powerful and satisfying climax.<\/p>\n\n\n\n

Though we\u2019ve recently seen variations of this story before (Wild, Into to Wild<\/em>), Wright provides enough honesty and class to this particular film to make it stand on its own. Cinematographer Bobby Bukowski provides the film with some downright gorgeous imagery, and Wright\u2019s costar, Demi\u00e1n Bichir, offers her excellent support.<\/p>\n\n\n\n

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

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Matt Damon in The Last Duel<\/figcaption><\/figure>\n\n\n\n

The Last Duel<\/strong><\/p>\n\n\n\n

The Last Duel, <\/em>a Ridley Scott directorial effort, is an exquisitely crafted and provocative piece of popular entertainment that deserves a second life on home video after a disastrously unsuccessful box office run. Though the film slightly drags in its overly long set-up, it eventually finds its footing and becomes an engrossing film that thoughtfully and uncompromisingly examines a piece of history involving the politics of rape.<\/p>\n\n\n\n

The Last Duel <\/em>is something we need more of: exemplary Hollywood filmmaking made for thinking adults.<\/p>\n\n\n\n

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

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Anya Taylor-Joy in Last Night in Soho<\/figcaption><\/figure>\n\n\n\n

Last Night in Soho<\/strong><\/p>\n\n\n\n

A fashion design student (Thomasin McKenzie) in contemporary London dreams of an alternate reality set in the sixties where a struggling singer (Anya Taylor-Joy) has to compromise her values in order to succeed. Last Night in Soho <\/em>has a strong and intriguing premise, and its hallucinatory execution makes it particularly intoxicating during its first half. The film stumbles somewhat in its second half, however, and grows mildly tiresome. Its eventual destination, ultimately, isn\u2019t quite as interesting or exciting as its build-up.<\/p>\n\n\n\n

That being said, the film contains many positive attributes that one can expect from its ultra-talented co-writer\/director, Edgar Wright: a great soundtrack, great performances, gorgeous cinematography, and inventive editing techniques. It may not quite live up to its potential, but Last Night in Soho <\/em>is still a trippy and predominantly fascinating effort.<\/p>\n\n\n\n

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

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Colson Baker (a.k.a. Machine Guy Kelly) in The Last Son<\/figcaption><\/figure>\n\n\n\n

The Last Son<\/strong><\/p>\n\n\n\n

This dark and broody Western centers on a man (Sam Worthington) who sets out to murder all of his children because of a prophecy that states one of them will kill him.<\/p>\n\n\n\n

The Last Son <\/em>is a well-made and well-acted film that successfully showcases an appropriately somber tone. The overall flow is sometimes a bit choppy and logic is occasionally questionable, but the film is still an overall modest success. Colson Baker, Thomas Jane, Emily Marie Palmer, and Heather Graham round out the strong ensemble cast.<\/p>\n\n\n\n

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

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Cooper Hoffman and Alana Haim in Licorice Pizza.<\/figcaption><\/figure>\n\n\n\n

Licorice Pizza<\/strong><\/p>\n\n\n\n

Set in the Valley in the early seventies, Licorice Pizza <\/em>is a character-based comedy that centers on a teenage actor and entrepreneur (the fantastic Cooper Hoffman) and his romantic fascination with a young woman in her mid-twenties (an equally fantastic Alana Haim).<\/p>\n\n\n\n

Filled with organically snappy dialogue, uniquely quirky humor, and endlessly charmingly whimsy, the film is a joy from start to finish. Writer\/director Paul Thomas Anderson returns to his roots, delivering his most personal, vivacious, and life-affirming work in years. Though the film occasionally comes to the brink of dragging with its slightly overlong two-hour-and-fifteen-minute runtime, there\u2019s still very little fault to be found in this surprisingly delightful and masterfully innovative production.<\/p>\n\n\n\n

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

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Denzel Washington and Jared Leto in The Little Things<\/figcaption><\/figure>\n\n\n\n

The Little Things<\/strong><\/p>\n\n\n\n

In print, The Little Things <\/em>brings forth hope for a high-quality studio thriller along the lines of Seven <\/em>or Heat. <\/em>While one has to admire writer\/director John Lee Hancock for trying something different and for attempting to challenge his audience, the film ultimately fails quite heavily at captivating its audience with any gripping tension or drama. Denzel Washington, Rami Malick, and Jared Leto all give predictably high-caliber performances, but they can\u2019t save a film whose intentions are unclear and whose execution is insufferably flat.<\/p>\n\n\n\n

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

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Olivia Coleman in The Lost Daughter<\/figcaption><\/figure>\n\n\n\n

The Lost Daughter<\/strong><\/p>\n\n\n\n

Olivia Coleman gives a notably brave performance as a brash divorcee who confronts some uncomfortable memories while vacationing on the beach.<\/p>\n\n\n\n

The Lost Daughter <\/em>is a bold movie that dares to remind us that our wives and mothers are flawed human beings with their own selfish yet undeniable desires. Though its pacing sometimes drags and it runs at least fifteen minutes too long, there is an undeniable power and heavy emotional impact that writer (based on Elena Ferrante\u2019s book)\/director Maggie Gyllenhaal achieves with this surprisingly honest and effectively blunt piece of filmmaking.<\/p>\n\n\n\n

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

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John David Washington and Zendaya in Malcolm & Marie<\/figcaption><\/figure>\n\n\n\n

Malcolm & Marie<\/strong><\/p>\n\n\n\n

Writer\/director Sam Levinson\u2019s film focuses on a volatile evening shared by a young filmmaker (John David Washington) and his former actress\/recently sober girlfriend (Zendaya). Malcolm & Marie<\/em> unravels like a stage play written by someone who has an abundance of opinions on many topics: race, gender dynamics, emotional abuse, addiction psychology, artistic inspiration, film criticism, etc.<\/p>\n\n\n\n

The film consistently tests its audience\u2019s patience with its excruciatingly narcissistic and unlikeable characters, often threatening to become little more than pretentious gibberish. Washington\u2019s and Zendaya\u2019s crackling and spontaneous performances and Levinson\u2019s boldly passionate and innovative filmmaking save the film from itself, however. Malcolm & Marie<\/em> manages to be an intriguing and insightful character study despite its own obnoxious and bloated self-importance.<\/p>\n\n\n\n

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

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Annabelle Wallis in Malignant<\/figcaption><\/figure>\n\n\n\n

Malignant<\/strong><\/p>\n\n\n\n

Director James Wan successfully returns to his horror roots with this clever, unique, and satisfyingly unpredictable film. Malignant <\/em>is a stylish and slow-burning movie. It occasionally threatens to meander while building momentum during its first half. Once it kicks in and reveals where it\u2019s going, however, the film provides a non-stop array of surprises, thrills, and wholly inventive, successfully creepy ideas. Wan continues to prove himself as one of the classiest and most original horror filmmakers working today.<\/p>\n\n\n\n

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

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Jacob Perez and Liam Neeson in The Marksman<\/figcaption><\/figure>\n\n\n\n

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

This film, which features Liam Neeson in yet another action hero role, isn\u2019t necessarily a bad movie, it\u2019s just a wholly forgettable one. Neeson stars as a rancher with (you guessed it) mad sniper skills who has to save the life of a young, endangered immigrant (Jacob Perez).<\/p>\n\n\n\n

The Marksman <\/em>hits every predictable note it promises to in its set-up, and it offers few surprises along the way to its underwhelming climax. It is an average movie with an average impact, and it forgets the most necessary ingredient of just about any successful action movie: fun.<\/p>\n\n\n\n

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

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Keanu Reeves and Carrie-Anne Moss in The Matrix Resurrections<\/figcaption><\/figure>\n\n\n\n

The Matrix Resurrections<\/strong><\/p>\n\n\n\n

This completely unnecessary reboot of The Matrix <\/em>franchise at least knows <\/em>it\u2019s completely unnecessary. The Matrix Resurrections<\/em> takes a (kind of) clever meta approach that should appeal to fans of the previous three films. The film\u2019s quirky self-awareness only gets it so far, however, as it increasingly grows more uninspired and unspectacular as it plods through its bloated two-and-a-half-hour runtime.<\/p>\n\n\n\n

While it\u2019s fun to see Keanu Reeves and Carrie-Anne Moss reprise their iconic roles, neither of them is given a movie that is completely worthy of their return.<\/p>\n\n\n\n

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

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The Mitchells vs. the Machines<\/figcaption><\/figure>\n\n\n\n

The Mitchells vs. the Machines<\/strong><\/p>\n\n\n\n

This exceedingly clever computer-animated, science fiction\/adventure family film is an entertaining and heartwarming endeavor that hits all the right marks. Innocent enough for kids and peppered with enough intelligent references for adults, The Mitchells vs. the Machines <\/em>has something to offer everyone. Though it overstays its welcome and runs about fifteen minutes too long, the inventive film is still a good time for audiences of all ages and tastes.<\/p>\n\n\n\n

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

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Ludi Lin and Max Huang in Mortal Kombat<\/figcaption><\/figure>\n\n\n\n

Mortal Kombat<\/strong><\/p>\n\n\n\n

There is not much to say about Mortal Kombat, <\/em>the new film based on the nineties video game, because it is exactly what it wants to be. If you\u2019re looking for some cool effects, extreme carnage, and nostalgic popular culture, then this is the movie for you. If you\u2019re looking for something\u2014anything<\/em>\u2014else, then it might be best to skip this one.<\/p>\n\n\n\n

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

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Algee Smith and Chloe Grace Mortez in Mother\/Android<\/figcaption><\/figure>\n\n\n\n

Mother\/Android<\/strong><\/p>\n\n\n\n

Chlo\u00eb Grace Moretz stars in this science fiction\/thriller as an expecting mother trying to survive a post-apocalyptic world overtaken by lethal androids. The film\u2019s sometimes-haphazard storytelling contains a few holes and its logic can be a little shaky, but it still works, overall, as a compelling and intense piece of entertainment. Mortez carries the film with the fiery commitment we\u2019ve come to expect from her, and Algee Smith and Ra\u00fal Castillo offer her excellent support.<\/p>\n\n\n\n

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

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Tom Hanks and Helena Zengel in News of the World<\/figcaption><\/figure>\n\n\n\n

News of the World<\/strong><\/p>\n\n\n\n

Tom Hanks and director Paul Greengrass re-team after their highly successful collaboration on Captain Phillips<\/em> for this intense and thoughtful depiction of life in early America.<\/p>\n\n\n\n

News of the World <\/em>is a Western unlike any other: it is character-driven and filled with immense heart, but it\u2019s also not afraid to show the darkness and ugliness of human nature when in its most primitive of settings. Hanks\u2019 never-ending onscreen reliability is put to brilliant use. He believably portrays a character whose integrity and good nature constantly put him at odds with the savagery of his times and surroundings.<\/p>\n\n\n\n

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

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Rooney Mara and Bradley Cooper in Nightmare Alley<\/figcaption><\/figure>\n\n\n\n

Nightmare Alley<\/strong><\/p>\n\n\n\n

This Guillermo del Toro directorial effort is a stylish noir thriller that only partially lives up to its potential. Bradley Cooper stars as a scheming carny who takes his mentalist act to the outside world and uses it to make money off of gullible victims.<\/p>\n\n\n\n

From Dan Lausten\u2019s rich cinematography to Tamara Deverell\u2019s detailed production design, Nightmare Alley <\/em>is a downright gorgeous movie to look at. Its pacing drags, however, and never reaches the momentum it needs to be consistently engrossing.  At two-and-a-half hours, the film runs a painstaking half-hour too long. Nightmare Alley<\/em> still manages to be a moderate success, however, due to its beautiful visuals and excellent performances by Cooper, Cate Blanchett, Rooney Mara, Willem Dafoe, Richard Jenkins, Toni Collette, and many others.<\/p>\n\n\n\n

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

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Bob Odenkirk in Nobody<\/figcaption><\/figure>\n\n\n\n

Nobody<\/strong><\/p>\n\n\n\n

John Wick <\/em>writer Derek Kolstad delivers another tale of high action that centers on a seemingly normal man who is attempting to live a placid life until his mysteriously violent past catches up with him. Nobody <\/em>is a perfectly entertaining and well-made film, though it is somewhat over-hyped. It delivers plenty of well-staged, adrenaline-inducing action sequences, but it lacks the heart or character development it needs to be truly great. Lead Bob Odenkirk is a surprisingly believable action hero.<\/p>\n\n\n\n

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

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Frances McDormand in Nomadland<\/figcaption><\/figure>\n\n\n\n

Nomadland<\/strong><\/p>\n\n\n\n

Frances McDormand stars as a woman who, after losing everything in the recession, lives out of her van and travels the country as a nomad.<\/p>\n\n\n\n

Writer (based on Jessica Bruder\u2019s novel)\/director Chloe Zhao takes a refreshingly observational approach to the film, allowing the viewer to live alongside its protagonist without any forced commentary or perspective. Nomadland <\/em>speaks volumes about the current state of American life, but it does so quietly and without oversimplifying itself, allowing the audience to come to their own conclusions about what they\u2019re seeing onscreen. Simple, beautiful, and haunting, Nomadland <\/em>is an unforgettable look at some of the many harsh realities residing behind today\u2019s American Dream.<\/p>\n\n\n\n

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

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Christina Rodolo in No One Gets Out Alive<\/figcaption><\/figure>\n\n\n\n

No One Gets Out Alive<\/strong><\/p>\n\n\n\n

Despite some serious potential, No One Gets Out Alive <\/em>is yet another modern horror movie that doesn\u2019t know how to explain itself or end satisfactorily. The film boasts some innovative editing techniques by Mark Towns, appropriately moody cinematography by Stephen Murphy, and an excellent and committed lead performance by Christina Rodolo. It also features some truly frightening moments that could have and should have been part of a much better, more inclusive film.<\/p>\n\n\n\n

Attributes aside, the film suffers from haphazard and sluggish pacing. Its confusing storyline and abrupt ending make the overall experience quite pointless and dull. It\u2019s hard to deny there was some serious talent involved in making the film, which only further adds to the frustration that most of it went to waste.<\/p>\n\n\n\n

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

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Don Cheadle and Benicio Del Toro in No Sudden Move<\/figcaption><\/figure>\n\n\n\n

No Sudden Move<\/strong><\/p>\n\n\n\n

Director Steven Soderbergh\u2019s 1950s-set thriller\/noir is a frustrating effort. It is exceedingly well made on a technical level, with attention-grabbing (almost to a distracting degree) cinematography by the director himself. The film also features a fantastic cast (Don Cheadle, Benicio Del Toro, Jon Hamm, David Harbour, Brendan Frasier, Amy Seimetz), who brings Ed Solomon\u2019s twisty and complex screenplay to life.<\/p>\n\n\n\n

In spite of its many attributes and an exceptionally strong first act, No Sudden Move <\/em>unravels quite messily as it progresses and becomes a victim to its own overly ambitious narrative. As a result, it\u2019s just as difficult to fully understand what\u2019s going on by the film\u2019s ending as it is to care.<\/p>\n\n\n\n

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

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Alex Wolff in Old<\/figcaption><\/figure>\n\n\n\n

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

This M. Night Shyamalan film, based on a graphic novel by Pierre-Oscar Levy and Frederik Peeters, centers on a group of vacationers whose afternoon beach spot causes them to rapidly and inexplicably age. While Old<\/em> has a clever premise, it\u2019s never quite developed enough to successfully sustain its feature-length runtime. In spite of its promise, this is another example of a movie that just doesn\u2019t seem to know what to do with itself. Old<\/em>, simply put, gets old fast.<\/p>\n\n\n\n

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

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Tim Blake Nelson in Old Henry<\/figcaption><\/figure>\n\n\n\n

Old Henry<\/strong><\/p>\n\n\n\n

Tim Blake Nelson stars in this intense Western as a farmer who aids a wounded stranger (Scott Haze) and consequentially finds himself fending off a group of very dangerous men. Old Henry <\/em>is a smart and direct film. Its simple and minimal storyline allows room for complex character development and riveting action sequences. Great performances, beautiful and gritty cinematography by John Matysiak, and assured direction by Potsy Ponciroli (who also penned the excellent screenplay) all work in conjunction to make a film that is exceedingly worthy of high praise.<\/p>\n\n\n\n

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

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Matthew Modine in Operation Varsity Blues<\/figcaption><\/figure>\n\n\n\n

Operation Varsity Blues: The College Admissions Scandal<\/strong><\/p>\n\n\n\n

This stylish and hypnotic documentary offers a detailed examination of Rick Singer\u2019s college admissions scheme, which unfairly allowed the children of wealthy parents into the nation\u2019s top universities.<\/p>\n\n\n\n

Operation Varsity Blues<\/em> mixes real-life footage with exceptionally well-made and well-performed dramatic reenactments (in which Matthew Modine excels as Singer). The overall effect is quite riveting, though occasionally uneven. The two separate styles sometimes combat one another, especially towards the film\u2019s unsatisfying conclusion. The reenactments are so strong that they could have made up the entire film, and it is often frustrating to only see them in fragments. Despite its occasional roughness, the film still serves as a fascinating study of the corruption and entitlement at the heart of America\u2019s upper class.<\/p>\n\n\n\n

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

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Blake Boyd in Out of Time<\/figcaption><\/figure>\n\n\n\n

Out of Time<\/strong><\/p>\n\n\n\n

Drawing inspiration from more eighties and nineties sci-fi classics than can be named, Out of Time<\/em> knows exactly what it wants to be. It is a charmingly low-budget effort that offers a good balance of action and humor. Though some aspects of the film are hindered due to financial constraints, there are still plenty of characteristics that make it truly enjoyable.<\/p>\n\n\n\n

Blake Boyd steals the show as a time-traveling detective who is tracking down deadly aliens. His performance is stoically masculine and lovably eccentric, perfectly conveying the film\u2019s lighthearted and quirky tone. Writer\/director Matt Handy\u2019s name is one to remember.<\/p>\n\n\n\n

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

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Damson Idris and Anthony Mackie in Outside the Wire<\/figcaption><\/figure>\n\n\n\n

Outside the Wire<\/strong><\/p>\n\n\n\n

Good performances, some well-executed action, and a solid climax somewhat save this film\u2019s overall stale and dull sci-fi\/military storyline. Anthony Mackie and Damson Idris are both excellent in lead roles, it\u2019s just too bad they weren\u2019t featured in a more stimulating plot. Outside the Wire <\/em>is not a bad movie, but there\u2019s nothing particularly special about it, either. <\/p>\n\n\n\n

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

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Melanie Laurent in Oxygen<\/figcaption><\/figure>\n\n\n\n

Oxygen<\/strong><\/p>\n\n\n\n

Melanie Laurent stars in this sci-fi\/mystery\/thriller as a woman trying to escape the confines of an enclosed, coffin-like medical pod. She carries the movie with infallible expertise, giving a performance so fervently committed that it\u2019s exhausting to witness.<\/p>\n\n\n\n

The first half of the film is executed with beautiful and effective simplicity, and it could have been great had it stayed on that path. The second half is more cluttered than necessary, however, and it becomes difficult to stay focused on the increasingly intricate plot details. However scattered Oxygen <\/em>may sometimes be, it is still an overall absorbing and painfully claustrophobic viewing experience.<\/p>\n\n\n\n

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

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Justin Timberlake in Palmer<\/figcaption><\/figure>\n\n\n\n

Palmer<\/strong><\/p>\n\n\n\n

Justin Timberlake gives a believable and affable lead performance as an ex-convict who decides to look after the neglected and adorably androgynous little boy (Ryder Allen) that lives next door to him. Though it\u2019s predictable and somewhat formulaic, this intelligent and finely crafted film still succeeds, overall. Palmer<\/em> is a moving tearjerker that hits all the right emotional notes and pulls at its audience\u2019s heartstrings in an effectively genuine manner.<\/p>\n\n\n\n

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

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Shia LaBeouf and Vanessa Kirby in Pieces of a Woman<\/figcaption><\/figure>\n\n\n\n

Pieces of a Woman<\/strong><\/p>\n\n\n\n

Vanessa Kirby delivers a powerhouse performance as a woman who, after losing her baby during a home birth, struggles to function with her grief. The film is raw and powerful, told in a series of observational long takes (courtesy of director Kornel Mundruczo) that refuse to manipulate or comfort the audience.<\/p>\n\n\n\n

Pieces of a Woman<\/em> feels authentic, making Kirby\u2019s struggle all the more painful to witness. However, the film is slightly marred by its sometimes sluggish, directionless pacing and an ending that tries to wrap itself up too neatly. Despite its few drawbacks, Pieces of a Woman <\/em>is an appropriately devastating film that knows how to evoke genuine empathy.<\/p>\n\n\n\n

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

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

Pig<\/strong><\/p>\n\n\n\n

Pig <\/em>centers on a truffle hunter (a subdued but fantastic Nicolas Cage) who goes searching for his kidnapped and beloved pet pig. The film initially sets itself up to be an action\/revenge thriller along the lines of John Wick. <\/em>Instead of progressing into a series of amped-up action sequences, however, Pig<\/em> takes a quietly dramatic and refreshingly introspective approach.<\/p>\n\n\n\n

Moments of conflict are filled with emotion instead of gunplay, and disputes are primarily faced with thought and conversation rather than fists and knives. Pig <\/em>is ultimately a sincere and meditative film on loss and grief that makes a wholly indelible impact.<\/p>\n\n\n\n

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

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Kuhoo Verma and Victoria Moroles in Plan B<\/figcaption><\/figure>\n\n\n\n

Plan B<\/strong><\/p>\n\n\n\n

Plan B<\/em> is about two teenage best friends (Kuhoo Verma and Victoria Moroles) who go on a comedy-of-errors quest to track down a Plan B pill. The film is reminiscent of such edgy, raunchy teen comedies as Superbad <\/em>and Booksmart, <\/em>but it also has a heart and a style that are completely its own.<\/p>\n\n\n\n

Director Natalie Morales exhibits impeccable comedic timing, providing the film with numerous shocking, big-laugh moments that are reminiscent of the Farrelly brothers at their best. She successfully (and impressively) balances such moments with instances of sincere humanity. As juvenile and bawdy as its humor may be, Plan B <\/em>still manages to deliver some heartfelt, inclusive messages from voices that are well worth hearing.<\/p>\n\n\n\n

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

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Benedict Cumberbatch in The Power of the Dog<\/figcaption><\/figure>\n\n\n\n

The Power of the Dog<\/strong><\/p>\n\n\n\n

Writer\/director Jane Campion\u2019s film is a frustrating effort. On one hand, it showcases some of the most gorgeous cinematography of its year (courtesy of Ari Wegner), excellent portrayals of complex characters by Benedict Cumberbatch, Jesse Plemons, and Kirsten Dunst, and an effectively moody musical score by the great Johnny Greenwood. On the other hand, the pacing is sluggish, the narrative is muddied, and it\u2019s difficult to truly care about or find a point to any of it.<\/p>\n\n\n\n

The Power of the Dog <\/em>is a greatly made movie that fails to captivate its audience emotionally or intellectually. Though it has many positive aspects, it\u2019s hard to appreciate them when they\u2019re housed in a movie that consistently seems designed to put its audience to sleep.<\/p>\n\n\n\n

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

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Nicolas Cage in Prisoners of the Ghostland<\/figcaption><\/figure>\n\n\n\n

Prisoners of the Ghostland<\/strong><\/p>\n\n\n\n

Prisoners of the Ghostland<\/em>\u2019s promotional materials feature a quote from star Nicolas Cage in which he proclaims that this ultra-theatrical and indisputably bonkers surrealist actioner is the wildest film he\u2019s ever made. While this might be true (which says a lot), it certainly doesn\u2019t make it his best movie. The film is far too innovative and uniquely beautiful to be written off completely, but it also serves as proof that there\u2019s often an excellent reason why some things have never before been done.<\/p>\n\n\n\n

Director Sion Sono doesn\u2019t just favor style over substance, he favors it over coherency and inclusivity. Prisoners of the Ghostland<\/em> can be rather painful to sit through because it has no organic flow and unravels like a series of intense, random fragments that never properly connect. Its dense world and storyline are never properly explained, often making it difficult to understand what the film is saying or depicting. A contrived strangeness that annoyingly dominates the tone only further alienates the film from its already perplexed audience.<\/p>\n\n\n\n

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

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Carey Mulligan in Promising Young Woman<\/figcaption><\/figure>\n\n\n\n

Promising Young Woman<\/strong><\/p>\n\n\n\n

Writer\/director Emerald Fennell delivers an edgy and colorful feature debut with this genre-oriented representation of the Me Too movement.  The film works both as a pulpy thriller and as a profound statement for its times.<\/p>\n\n\n\n

Promising Young Woman<\/em>, however, is moderately guilty of oversimplifying its story and its characters to prove its point. No doubt, it is a point worth making, but it could have been made a bit more astutely and with a tad more intelligence. That being said, however one-sided the film may be, it still represents a side that needs to be heard. Though it has a few shortcomings that prevent it from reaching greatness, the film does offer an encouraging glimpse of what is yet to come from a talent as strong as Fennell\u2019s.<\/p>\n\n\n\n

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

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Maggie Q in The Protege<\/figcaption><\/figure>\n\n\n\n

The Prot\u00e9g\u00e9<\/strong><\/p>\n\n\n\n

A female assassin (Maggie Q) seeks vengeance against those who murdered her mentor and father figure (Samuel L. Jackson) in this action\/thriller.<\/p>\n\n\n\n

The Prot\u00e9g\u00e9 <\/em>features some excellently staged action sequences, well-timed humor, and just the right amount of heart to make you care for its characters. However, the film also has an uninspired, stale, and unnecessarily convoluted storyline that features an overpopulated host of characters that never properly connect. Q, Jackson, Michael Keaton, and Robert Patrick all deliver exceptional performances that deserve to be part of a film whose screenplay was crafted with a little more care.<\/p>\n\n\n\n

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

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Nita-Josee Hanna, Owen Myre, and Matthew Ninaber in Psycho Goreman<\/figcaption><\/figure>\n\n\n\n

Psycho Goreman<\/strong><\/p>\n\n\n\n

This wholly entertaining horror\/comedy from writer\/director Steven Kostanski (co-writer\/co-director of The Void<\/em>) is already on its way to becoming a cult classic.<\/p>\n\n\n\n

Endlessly inventive, excessively gory, and genuinely hilarious, Psycho Goreman<\/em> plays like a passionate homage to eighties b-movies. Relying heavily on practical make-up and visual effects, the film has a beautiful tactile quality that sets it apart from other low-budget offerings released today. Psycho Goreman<\/em> is a silly, bloody movie made with extreme care, impressive talent, and a joyously demented heart.<\/p>\n\n\n\n

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

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Kristen Bell and Kirby Howell Baptiste in Queenpins<\/figcaption><\/figure>\n\n\n\n

Queenpins<\/strong><\/p>\n\n\n\n

Kristen Bell and Kirby Howell Baptiste star as two suburban women who become criminal masterminds after launching a successful coupon scheme.<\/p>\n\n\n\n

Queenpins <\/em>has a smart and amusing premise but is occasionally dumbed down with immature humor that self-consciously panders to a broader audience. Despite its faults, the film does come together in the end and mostly succeeds as an entertaining\u2014though perhaps overly safe\u2014alternative crime saga. Paul Walter Hauser and Vince Vaughn exhibit a natural and playful chemistry in memorable supporting roles.<\/p>\n\n\n\n

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

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Noah Jupe, Millicent Simmonds, and Emily Blunt in A Quiet Place Part II<\/figcaption><\/figure>\n\n\n\n

A Quiet Place Part II<\/strong><\/p>\n\n\n\n

This much-anticipated sequel to the 2018 sci-fi\/horror hit gets the job done, but doesn\u2019t have nearly the same impact as the original. Familiar gimmicks are reused, moments of suspense are only sporadically effective, and the storyline is so unexceptional that, even at ninety-eight minutes, the pacing can\u2019t help but drag towards the end.<\/p>\n\n\n\n

Still, there are enough merits to A Quiet Place Part II <\/em>that make it a moderate success. Emily Blunt, Millicent Simmonds, Noah Jupe, Cillian Murphy, and Djimon Honsou all deliver intense, thoughtful, and sympathetic performances that make us care about their characters\u2019 survival. Writer\/director John Krasinski may not quite master suspense this time around, but he repeatedly proves that he can capture an audience\u2019s attention and empathy with easily relatable and realistic characters.<\/p>\n\n\n\n

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

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Ryan Reynolds, Dwayne Johnson, and Gal Gadot in Red Notice<\/figcaption><\/figure>\n\n\n\n

Red Notice<\/strong><\/p>\n\n\n\n

Gal Gadot steals the show with a boisterously fun performance in this kinetic action\/comedy. Also starring Dwayne Johnson and Ryan Reynolds, Red Notice<\/em> is overtly stylized and features a harmlessly playful tone throughout. On the reoccurring occasions that the film is too obnoxiously clever for its own good, however, it oftentimes ceases to be amusing. Johnson is solid as always, but Reynolds needs to stop playing every single role <\/em>as if he were wearing Deadpool\u2019s tights.<\/p>\n\n\n\n

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

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Thandiwe Newton and Hugh Jackman in Reminiscence<\/figcaption><\/figure>\n\n\n\n

Reminiscence<\/strong><\/p>\n\n\n\n

Reminiscence<\/em> is an overly complex and improperly explained science fiction\/thriller that loses its audience early on and never fully recovers. Despite some great ideas by writer\/director Lisa Joy, solid lead performances by Hugh Jackman and Rebecca Ferguson, and gorgeous cinematography by Paul Cameron, the film simply doesn\u2019t work. It is a muddied and virtually indecipherable mess that lazily and unsuccessfully relies on lifeless voice-over narration to fill in its many plot holes.<\/p>\n\n\n\n

Reminiscence <\/em>is a movie that probably needs to be seen more than once to be fully understood, but its lack of dramatic weight and entertainment value make the prospect of repeat viewings highly unlikely.<\/p>\n\n\n\n

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

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Mads Mikkelsen in Riders of Justice<\/figcaption><\/figure>\n\n\n\n

Riders of Justice<\/strong><\/p>\n\n\n\n

This Danish action\/thriller is an extraordinarily thoughtful examination of cause and effect\u2014how seemingly random events can set other events into motion regardless of awareness or intention. It is also a painfully hilarious depiction of the futility of revenge. Riders of Justice <\/em>is a film that attempts to work on a variety of levels, and it impressively succeeds at all of them.<\/p>\n\n\n\n

Mads Mikkelsen leads a flawless ensemble cast, portraying a military member who is convinced that his wife\u2019s death in a train wreck was no random accident. The film balances many emotions and tones, resulting in a life-like and reality-grounded experience that still manages to fully engage its audience. Riders of Justice <\/em>is the ultimate thinking person\u2019s action movie. It thrills and entertains in the moment, but later requires you to ponder its violent events, their meanings, and their consequences.<\/p>\n\n\n\n

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

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Jake Johnson in Ride the Eagle<\/figcaption><\/figure>\n\n\n\n

Ride the Eagle<\/strong><\/p>\n\n\n\n

This tear-jerking and charming dramedy features a man (Jake Johnson) who is given a list of self-improving tasks that he must complete before he receives his inheritance from his departed and formerly estranged mother (Susan Sarandon). It\u2019s nothing new, but Ride the Eagle <\/em>is an exceedingly well-made and well-acted film that politely reminds us of the benefits of forgiveness and the importance of focusing on what makes us feel good in life.<\/p>\n\n\n\n

Johnson delivers an extraordinarily likable performance, and J.K. Simmons and D\u2019Arcy Carden offer him hilarious and emotionally moving support.<\/p>\n\n\n\n

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

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Chloe Grace Mortez in Shadow in the Cloud<\/figcaption><\/figure>\n\n\n\n

Shadow in the Cloud<\/strong><\/p>\n\n\n\n

As far as escapist entertainment goes, you can\u2019t do much better than this exciting WWII actioner. Shadow in the Cloud<\/em> has all the elements of a satisfying movie: suspense, action, spectacle, and, most importantly, a well-defined and likable lead character (portrayed with a determined commitment by Chloe Grace Mortez).<\/p>\n\n\n\n

Cowriter\/director Roseanne Liang delivers a feature debut that suggests the work of a seasoned professional. This is particularly impressive when considering that roughly half the movie takes place in the claustrophobic space of a ball turret under a fighter plane. Though its believability is sometimes questionable, the viewer is never completely removed from the movie\u2019s reality. Shadow in the Cloud<\/em> also manages to deliver a strong feminist message without succumbing to preaching that gets in the way of its extreme entertainment value.<\/p>\n\n\n\n

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

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Simu Liu in Shang-Chi and the Legend of the Ten Rings<\/figcaption><\/figure>\n\n\n\n

Shang-Chi and the Legend of the Ten Rings<\/strong><\/p>\n\n\n\n

Despite a slightly rough and exposition-heavy first act, Shang-Chi and the Legend of the Ten Rings<\/em> is one of the freshest entries that the MCU has released for quite some time. Director Destin Daniel Cretton (Just Mercy<\/em>) is a great fit for the material, providing the film with a splendid combination of spectacle, thrills, emotional engagement, and lovably relatable characters. Shang-Chi (played by the excellent Simu Liu) is a character worthy of many future adventures.<\/p>\n\n\n\n

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

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Alan Moore in The Show<\/figcaption><\/figure>\n\n\n\n

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

Everything about this neo-noir looks good on paper. Scripted by the Watchmen <\/em>comic\u2019s Alan Moore, The Show<\/em> is a stylish, surreal, and evocative film with some great concepts, quirkily detailed humor, and outstanding cinematography.<\/p>\n\n\n\n

The film lacks coherency, however, and its storyline\u2019s unclear execution turns a movie that could have been exciting and unique into something rather pretentious, befuddling, and dull. Despite its robust potential, The Show <\/em>doesn\u2019t prove to be aptly named because it fails to provide much of one.<\/p>\n\n\n\n

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

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Space Sweepers<\/figcaption><\/figure>\n\n\n\n

Space Sweepers<\/strong><\/p>\n\n\n\n

A fast pace, strong visual effects, and a fun, light tone make this Korean sci-fi\/actioner one of the most carefree and entertaining releases of its year. Space Sweepers <\/em>takes a cue from the Guardians of the Galaxy <\/em>films and mixes spectacle with grounded and identifiable characters, quirky humor, and genuine heart.  Though it runs a tad long and is a bit too cluttered to be completely comprehensible, Space Sweepers <\/em>still manages to offer an evening of high-quality entertainment.<\/p>\n\n\n\n

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

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Kristen Stewart in Spencer<\/figcaption><\/figure>\n\n\n\n

Spencer<\/strong><\/p>\n\n\n\n

This glimpse into the life and personal struggles of Princess Diana deserves praise for not taking the standard biopic route. Instead of covering her entire life, the film only focuses on a small period of time in which the audience is able to get to know her quite well. Her mental health issues are at the forefront of this film, and it\u2019s an eye-opening examination of the interior damage that wealth, celebrity, and an unhappy marriage can cause.<\/p>\n\n\n\n

Spencer<\/em> sputters, however, in its ability to capture its audience\u2019s interest for the majority of its duration. Despite some classy filmmaking and a top-notch performance from Kristen Stewart, the film is ultimately as stuffy and dull as the oppressive lifestyle from which the princess so desperately wants to escape. The film does pick up in its last act, but not quite enough to fully save it from its earlier setbacks. Spencer <\/em>is a film with many positive attributes, but none of them are quite worth braving its sluggish pacing and lack of riveting drama.<\/p>\n\n\n\n

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

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Zendaya and Tom Holland in Spider-Man: No Way Home<\/figcaption><\/figure>\n\n\n\n

Spider-Man: No Way Home<\/strong><\/p>\n\n\n\n

If you\u2019re late getting to this title, it is next to impossible for its hype and glowing reception from critics and audiences not to affect your enjoyment of it.<\/p>\n\n\n\n

Make no mistake, Spider-Man: No Way Home <\/em>is a good, perfectly entertaining movie that continues the adventures of the classic superhero character portrayed by Tom Holland. Just don\u2019t expect it to be the best movie you\u2019ve ever seen, as it has an overstuffed and cluttered narrative that is more concerned with definitively tying together different Marvel movies than it is with telling a solid and well-paced story.<\/p>\n\n\n\n

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

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Chris Rock in Spiral<\/figcaption><\/figure>\n\n\n\n

Spiral<\/strong><\/p>\n\n\n\n

Chris Rock\u2019s massive talent helps to significantly raise the quality of this latest entry into the Saw <\/em>series. <\/em>The film keeps its audience in moderate (though not necessarily edge-of-your-seat) suspense throughout most of its duration. Some fuzzily explained plot details and thinly developed characters do hinder its overall success, however. Despite its imperfections and the tired nature of its series, Spiral <\/em>should still appease Saw<\/em> fans looking for their next torture porn fix just as much as it should entertain series newcomers looking for a skillfully made horror\/thriller flick that gets under their skin.<\/p>\n\n\n\n

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

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Mellissa McCarthy in The Starling<\/figcaption><\/figure>\n\n\n\n

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

Melissa McCarthy proves yet again that she is just as skilled a dramatic actress as a comedic one. Her portrayal of a grieving mother who struggles with an overly protective Starling in her front yard is funny, tragic, and heartfelt. The integrity of McCarthy\u2019s naturalistic performance allows you to forgive The Starling<\/em>\u2019s somewhat formulaic and simplistic examination of grief. Kevin Kline, Chris O\u2019Dowd, Loretta Devine, and Timothy Olyphant all stand out in supporting roles.<\/p>\n\n\n\n

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

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Matt Damon in Stillwater<\/figcaption><\/figure>\n\n\n\n

Stillwater<\/strong><\/p>\n\n\n\n

Matt Damon gives a stellar performance as a father who travels to France to aid his daughter (Abigail Breslin), who he believes has been falsely imprisoned for murder. <\/p>\n\n\n\n

The slow but steadily paced film is a character-based mystery\/drama that holds its audience\u2019s attention for the entirety of its near-two-and-a-half-hour runtime. Stillwater <\/em>puts as much emphasis on the emotional truths of its characters as it does the details of its highly enticing storyline. It\u2019s a film that succeeds in what it sets out to accomplish with impeccable skill and craftsmanship. Breslin, Camille Cottin, and Lilou Siauvaud all provide Damon with excellent support.<\/p>\n\n\n\n

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

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Shamier Anderson and Anna Kendrick in Stowaway<\/figcaption><\/figure>\n\n\n\n

Stowaway<\/strong><\/p>\n\n\n\n

This Gravity<\/em>-esque science fiction drama\/thriller is an intelligent and moving film that is captivating from beginning to end. The small but exceptional cast\u2014Anna Kendrick, Daniel Dae Kim, Shamier Anderson, and Toni Collette\u2014is pitch-perfect, portraying characters that are as developed as they are sympathetic. Though logic is sometimes a bit questionable (how, exactly, was it possible for an unplanned passenger to go unnoticed on a spaceship meant for three people?), the film\u2019s tight pacing and riveting suspense can make you overlook such flaws.<\/p>\n\n\n\n

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

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David Dastmalchian, John Cena, Idris Elba, and Daniela Melchior in The Suicide Squad <\/figcaption><\/figure>\n\n\n\n

The Suicide Squad<\/strong><\/p>\n\n\n\n

James Gunn\u2019s soft reboot\/sorta sequel to David Ayer\u2019s 2016\u2019s Suicide Squad <\/em>is a mischievously entertaining, dementedly innovative, and oddly beautiful effort. Fully and unabashedly owning its R-rating, The Suicide Squad <\/em>revels in gore, ultra-violence, and adult humor, making it one of the most daring comic book movies (or major studio productions, for that matter) in recent memory.<\/p>\n\n\n\n

The film falls just short of greatness, however, because it lacks focus and is unevenly paced. It\u2019s cluttered and overstuffed with too many characters, too many subplots, and too many set pieces. Even though Gunn\u2019s love for this misfit group of antiheroes is apparent (and contagious), the over-ambitious storyline doesn\u2019t allow any of them to have the screen time they deserve. Despite its faults, The Suicide Squad <\/em>is still a gleefully insane and gloriously grotesque good time.<\/p>\n\n\n\n

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

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Mahershala Ali in Swan Song<\/figcaption><\/figure>\n\n\n\n

Swan Song<\/strong><\/p>\n\n\n\n

Mahershala Ali gives a typically outstanding lead performance as a terminally ill man who chooses to clone himself in order to spare his family the grief of losing him.<\/p>\n\n\n\n

Swan Song <\/em>is a character-based and deeply sensitive depiction of mortality and loss. It\u2019s a dramatic science fiction film that delivers some big ideas and examines some major ethical issues about scientific progress while simultaneously captivating its audience on a deeply emotional level. Swan Song <\/em>is an intelligent and wholly moving film that succeeds with its intellectually and dramatically complex ambitions.<\/p>\n\n\n\n

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

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Jason Momoa and Isabela Merced in Sweet Girl<\/figcaption><\/figure>\n\n\n\n

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

Sweet Girl <\/em>is a solid, though unspectacular, action\/thriller for its first three quarters. It has some riveting action sequences, excellent lead performances by Jason Momoa and Isabela Merced, and it carries an important message that speaks against pharmaceutical greed.<\/p>\n\n\n\n

However, the film completely rips itself apart in its last act with a wholly unwarranted and undeveloped plot twist that is as asinine as it is sloppily abrupt. Then the film brazenly keeps on going <\/em>for another twenty minutes despite already losing its audience with its lazily jagged storytelling. Sweet Girl <\/em>had potential that was needlessly and pointlessly wasted with a screenplay that doesn\u2019t know when to keep things simple.<\/p>\n\n\n\n

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

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James Norton and Amanda Seyfried in Things Heard & Seen<\/figcaption><\/figure>\n\n\n\n

Things Heard & Seen<\/strong><\/p>\n\n\n\n

Though not without its attributes, this paranormal thriller is an uneven viewing experience to the point of being jagged. The melding of human drama with a ghostly storyline never works as seamlessly as it should, as the two separate elements are at odds with each other throughout the film. Nothing comes together in the dramatically flat climax, and the audience is left hanging without any form of a satisfying resolution.<\/p>\n\n\n\n

Still, Things Heard & Seen<\/em> has its moments, courtesy of some interesting editing choices, an appropriately tense atmosphere, and Amanda Seyfried\u2019s dedicated lead performance.<\/p>\n\n\n\n

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

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Angelina Jolie in Those Who Wish Me Dead<\/figcaption><\/figure>\n\n\n\n

Those Who Wish Me Dead<\/strong><\/p>\n\n\n\n

Cowriter (based on the novel by Michael Koryta)\/director Taylor Sheridan (Wind River, Yellowstone<\/em>) continues his never-ending hot streak with this engrossing thriller.<\/p>\n\n\n\n

Angelina Jolie stars as a classic Hitchcockian protagonist trying to overcome a tragedy from her past by becoming a hero in the present. She provides a wild hotshot quality to her character that is balanced by sincere moments of vulnerability, integrity, and strength. Though the film is a tad too formulaic to be great, it features some fantastic action, edge-of-your-seat suspense, and relatable, well-defined characters.<\/p>\n\n\n\n

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

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Melissa McCarthy and Octavia Spencer in Thunder Force<\/figcaption><\/figure>\n\n\n\n

Thunder Force<\/strong><\/p>\n\n\n\n

Melissa McCarthy reunites with her husband, writer\/director Ben Falcone, for this highly amusing comedic take on the superhero genre. Also starring Octavia Spencer, the film is easy to like, as it features two of the most endearing onscreen talents working in mainstream movies today. With screen presences that could make phone book readings as stimulating as Shakespeare, both McCarthy and Spencer have a great deal of fun with their roles, and that fun is undeniably contagious.<\/p>\n\n\n\n

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

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Andrew Garfield in tick, tick… Boom!<\/figcaption><\/figure>\n\n\n\n

tick, tick\u2026Boom!<\/strong><\/p>\n\n\n\n

If you\u2019re a fan of musical theater, then this innovative and flamboyant biopic about Rent <\/em>composer Jonathan Larson should be right up your alley. If you\u2019re not, then sitting through a musical production about a musical maker might be akin to a visit to the dentist\u2019s office.<\/p>\n\n\n\n

Regardless of how you feel about its genre and style, tick, tick\u2026 Boom! <\/em>is a well-made and informative film about the struggles of being a young artist in a large city. The personal tastes of this writer may have prevented him from enjoying this film too much, but it didn\u2019t stop him from admiring its ambition, creativity, and enormous heart.<\/p>\n\n\n\n

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

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Megan Fox in Till Death<\/figcaption><\/figure>\n\n\n\n

Till Death<\/strong><\/p>\n\n\n\n

Megan Fox delivers one of her best performances to date as a woman who is purposefully left in a secluded area while handcuffed to her dead husband\u2019s body. Its premise may owe a significant debt to Gerald\u2019s Game<\/em>, but Till Death <\/em>is a nerve-wracking and nail-biting experience that succeeds due to its own merits. From beginning to end, the well-made film is consistently and surprisingly effective.<\/p>\n\n\n\n

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

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Patti Harrison and Ed Helms in Together Together<\/figcaption><\/figure>\n\n\n\n

Together Together<\/strong><\/p>\n\n\n\n

Together Together <\/em>centers on the unlikely friendship between a single man in his mid-forties (Ed Helms) and the twenty-six-year-old surrogate (Patti Harrison) who is carrying his child. The film refuses to follow any conventional or predictable routes. It allows its characters\u2019 behavior to organically push the film forward instead of relying on contrived plot points. Together Together<\/em> is a simple, thoughtful, and realistic character study that makes an exceptional and tear-inducing impact.<\/p>\n\n\n\n

Helms and Harrison both give grounded, funny, and surprisingly vulnerable performances. Writer\/director Nikole Beckwith delivers a sincerely moving and sweet film that impressively follows its own formula.<\/p>\n\n\n\n

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

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Chris Pratt in The Tomorrow War<\/figcaption><\/figure>\n\n\n\n

The Tomorrow War<\/strong><\/p>\n\n\n\n

Chris Pratt lends his exceedingly likable screen presence to this intelligent and captivating sci-fi\/action effort. The film achieves an impressive balance of thrills and heart. The storyline\u2014centering on time-traveling soldiers who are sent to the future to battle deadly aliens\u2014is well executed and (thankfully) easy to follow. Though the film gets a tad too sentimental with a family-themed subplot, it\u2019s still a remarkably entertaining and involving effort.<\/p>\n\n\n\n

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

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Denzel Washington in The Tragedy of Macbeth<\/figcaption><\/figure>\n\n\n\n

The Tragedy of Macbeth<\/strong><\/p>\n\n\n\n

Joel Coen\u2019s first directorial effort without his brother, Ethan, as a collaborator is an exquisitely crafted and fiercely loyal adaptation of Shakespeare\u2019s classic play. From Carter Burwell\u2019s haunting score to Bruno Delbonnel\u2019s rich black-and-white cinematography, every aspect of the film is executed with extraordinary care and expertise. The cast\u2014headlined by Denzel Washington and Frances McDormand\u2014is pitch-perfect, delivering the classic text with a subtle mixture of naturalistic ease and theatrical grandiosity.<\/p>\n\n\n\n

The film\u2019s primary fault, however, is that it is much too perfect, far too clean, and too obviously staged. It lacks the fire, passion, and sloppiness of spontaneous human emotion that it needs to reach its full dramatic potential. The Tragedy of Macbeth <\/em>is an extraordinarily crafted piece of work that doesn\u2019t fully take flight because it\u2019s more concerned with achieving perfection than it is with moving its audience emotionally.<\/p>\n\n\n\n

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

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Barry Pepper in Trigger Point<\/figcaption><\/figure>\n\n\n\n

Trigger Point<\/strong><\/p>\n\n\n\n

Some well-executed action scenes, a believably badass lead performance by Barry Pepper, and some solid filmmaking can only partially make up for what Trigger Point <\/em>lacks in its screenplay. The film\u2019s thin character development, gaping plot holes, and unsatisfying ending simply can\u2019t be overlooked. It\u2019s another example of a film that is clearly trying to set up its own franchise, but does so at the expense of its own quality and coherency.<\/p>\n\n\n\n

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

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Aksel Hennie and Noomi Rapace in The Trip<\/figcaption><\/figure>\n\n\n\n

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

This unrelenting, endlessly shocking Norwegian dark comedy\/thriller is one of the tensest and funniest surprises of its year. Noomi Rapace and Aksel Hennie both deliver standout lead performances, portraying a married couple whose plans to murder one another are thwarted by a series of unexpectedly absurd hurdles. The Trip <\/em>is an ultra-violent, excessively gory, and wholly unpredictable roller coaster of a movie that never stops to catch its breath until it reaches its highly satisfying conclusion.<\/p>\n\n\n\n

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

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Meredith Hagner, Yvonne Orji, Lil Rey Howery, and John Cena in Vacation Friends<\/figcaption><\/figure>\n\n\n\n

Vacation Friends<\/strong><\/p>\n\n\n\n

A newly engaged couple (Lil Rey Howery and Yvonne Orji) befriends an outgoing and charmingly insane couple (John Cena and Meredith Hagner) while vacationing in Mexico. All the lead actors achieve big laughs by playing highly absurd moments with complete and dedicated realism. Vacation Friends <\/em>is an edgy, raunchy, and boisterous comedy that contains several nice surprises despite reaching a somewhat predictable destination.<\/p>\n\n\n\n

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

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Val Kilmer in Val<\/figcaption><\/figure>\n\n\n\n

Val<\/strong><\/p>\n\n\n\n

This compilation of private videos taken by Val Kilmer throughout his life is a surprisingly moving and heartfelt depiction of the eccentric actor. Whether or not you\u2019re a fan, the film has something to offer everyone. Val<\/em> is a candid and intimate glimpse into the life of an actor, celebrity, and cancer survivor.<\/p>\n\n\n\n

Kilmer is an endlessly fascinating subject, and this portrait of his life is more than a mere depiction of an artist. It\u2019s a beautiful and insightful work of art in and of itself.<\/p>\n\n\n\n

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

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Tom Hardy in Venom: Let There Be Carnage<\/figcaption><\/figure>\n\n\n\n

Venom: Let There Be Carnage<\/strong><\/p>\n\n\n\n

This sequel to 2018\u2019s Venom <\/em>is a perfectly entertaining effort that expands upon the general entertainment value and overall humor of its predecessor. Venom: Let There Be Carnage<\/em> never takes itself too seriously and offers a refreshingly light-hearted take on the superhero genre. The film may be short on story and character development, but it stands tall with action, comedy, and spectacle.<\/p>\n\n\n\n

Tom Hardy, Woody Harrelson, Michelle Williams, and Naomie Harris all deliver appropriately lively performances that capture the film\u2019s charming and playful spirit.<\/p>\n\n\n\n

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

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Sandra Bullock in The Unforgivable<\/figcaption><\/figure>\n\n\n\n

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

Sandra Bullock stars in this dramatic mystery\/thriller as a woman trying to reintegrate into society after being released from prison for murdering a police officer. The dramatic potential of this scenario is, unfortunately, squandered with a predictable and contrived screenplay. Bullock\u2019s intensely focused performance is the film\u2019s highlight, but it fails to fully rescue The Unforgivable<\/em> from its generic and uninspired core.<\/p>\n\n\n\n

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

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Colin Farrell and Tye Sheridan in Voyagers<\/figcaption><\/figure>\n\n\n\n

Voyagers<\/strong><\/p>\n\n\n\n

This underrated science fiction\/thriller is a thought-provoking piece of entertainment. The film\u2019s aspirations to reach a broad audience sometimes force it to rush and over-simplify its more complex concepts, however. Despite its faults, Voyagers <\/em>still manages to be an intelligent, suspenseful, and ambitious film that delivers some big ideas while keeping its audience engaged. Colin Farrell, Tye Sheridan, Lily-Rose Depp, and Fionn Whitehead all deliver solid performances.<\/p>\n\n\n\n

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

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Ariana DeBose and David Alvarez in West Side Story<\/figcaption><\/figure>\n\n\n\n

West Side Story<\/strong><\/p>\n\n\n\n

This Steven Spielberg production is a socially aware, racially sensitive, and astutely topical update of the classic musical. West Side Story <\/em>is something we\u2019ve all seen, in one way or another, many times before, but this latest adaptation is fresh and lively enough to make it feel like it\u2019s brand new.<\/p>\n\n\n\n

Vivaciously and skillfully choreographed by Justin Peck, richly photographed by Janusz Kaminski, and thoughtfully directed by Spielberg, the film stands entirely on its own without warranting comparisons to previous versions. Even if musicals aren\u2019t your thing (as is the case with this writer), this most recent production of West Side Story <\/em>is still a beautiful and powerful piece of filmmaking.<\/p>\n\n\n\n

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

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Jaimie in Why Did You Kill Me?<\/figcaption><\/figure>\n\n\n\n

Why Did You Kill Me?<\/strong><\/p>\n\n\n\n

This intriguing documentary centers on a family who, back in 2006, used Myspace to solve the gang murder of their relative, Crystal Theobald. The film relays its information rather haphazardly at first, and it\u2019s difficult to understand who everyone is or how they relate to one another. It truly becomes engrossing and begins to work, however, when the focus is on Crystal\u2019s family and their mission to find her justice.<\/p>\n\n\n\n

Despite some roughness, Why Did You Kill Me? <\/em>is an emotional and stimulating examination of loss and justice in the age of social media.<\/p>\n\n\n\n

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

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Nicolas Cage in WIlly’s Wonderland<\/figcaption><\/figure>\n\n\n\n

Willy\u2019s Wonderland<\/strong><\/p>\n\n\n\n

Who else but Nicolas Cage would star in a film as a mute protagonist who has to fend off evil animatronic puppets that dwell in an abandoned, Chuck E Cheese\u2019s-like family-themed restaurant? You have to, at the very least, appreciate Willy\u2019s Wonderland <\/em>for having the audacity to exist in the first place. The film, a darkly comedic and blood-soaked festival of insanity, surprisingly isn\u2019t half-bad. Even without saying a word, Cage knows how to command attention every second he\u2019s on screen.<\/p>\n\n\n\n

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

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Michael B. Jordan in Without Remorse<\/figcaption><\/figure>\n\n\n\n

Without Remorse<\/strong><\/p>\n\n\n\n

It\u2019s hard to say why audiences and critics have been so negative in their responses to this Tom Clancy adaptation (which happens to be co-scripted by Those Who Wish Me Dead <\/em>co-writer\/director Taylor Sheridan). It may not be anything particularly groundbreaking, but it gets the job done with some enthralling action and suspense. Michael B. Jordan\u2019s exceptionally watchable screen presence helps elevate what could have been a predictable and formulaic revenge thriller significantly.<\/p>\n\n\n\n

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

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Amy Adams in The Woman in the Window<\/figcaption><\/figure>\n\n\n\n

The Woman in the Window<\/strong><\/p>\n\n\n\n

Based on A.J. Finn\u2019s novel (with a screenplay adaptation by Killer Joe<\/em>\u2019s Tracy Letts), this often-operatic Hitchcockian mystery\/thriller is an overall captivating but sometimes clunky viewing experience.<\/p>\n\n\n\n

The fantastic cast members (Amy Adams, Julianne Moore, Jennifer Jason Leigh, Gary Oldman, Anthony Mackie, Brian Tyree Henry, Wyatt Russell, and Fred Hechinger) all predictably have their moments to shine. However, many of them are also hampered by what feels like a lack of direction, as certain moments aren\u2019t as finessed, believable, or motivationally clear as they should be. Despite its faults, The Woman in the Window <\/em>still boasts a successfully tense tone, some clever photography, and an overall unrelenting pace–all of which primarily save the film from the mess it often threatens to become.<\/p>\n\n\n\n

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

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Jason Statham in Wratch of Man<\/figcaption><\/figure>\n\n\n\n

Wrath of Man<\/strong><\/p>\n\n\n\n

Guy Ritchie\u2019s latest effort works on a surface level if you don\u2019t think too hard about it. It\u2019s a solidly and stylishly made revenge thriller that features a cool-as-ice lead performance from Jason Statham. Unfortunately, it has an overly complex narrative that distracts the viewer from being fully engaged, and the film doesn\u2019t truly come together as a satisfying whole in the end. Wrath of Man <\/em>is not without its merits, but it could have been much more effective with a simpler, more direct execution.<\/p>\n\n\n\n

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

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Zack Snyder’s Justice League<\/figcaption><\/figure>\n\n\n\n

Zack Snyder\u2019s Justice League<\/strong><\/p>\n\n\n\n

After years of rumors and online campaigns, we are finally given the chance to see what Zack Snyder originally intended to do with his third entry in the DCEU with Zack Snyder\u2019s Justice League<\/em>.<\/p>\n\n\n\n

The wait was worth it. This isn\u2019t just a new edit of the 2017 theatrical cut, it\u2019s an entirely different viewing experience altogether. Snyder has created a massive, messy, beautiful four-hour epic for his times and it is one of the boldest and most unique entries into the superhero genre ever created. A bit too bloated for its own good, Zack Snyder\u2019s Justice League <\/em>isn\u2019t faultless, but it is a truly unforgettable effort that is a minor miracle for even existing in the first place.<\/p>\n\n\n\n

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

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Matilda Lutz and Guy Pearce in Zone 414<\/figcaption><\/figure>\n\n\n\n

Zone 414<\/strong><\/p>\n\n\n\n

Guy Pearce stars in this futuristic sci-fi\/thriller (at least that\u2019s what it claims to be) as a private detective who is trying to track down a missing person with the aid of an android who has human emotions (Matilda Lutz). The story is muddy and hard to follow, the execution is flat and uninspired, and the pacing is so sluggish that it\u2019s hard to think of the movie as anything but boring.<\/p>\n\n\n\n

Pearce and Lutz both give fine performances, and the film does, at the very least, look good due to its interesting cinematography by James Mather and colorful production design by Philip Murphy. Despite its few positives, however, Zone 414 <\/em>is, overall, a hopelessly forgettable experience.<\/p>\n\n\n\n

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

Above Suspicion Director Phillip Noyce returns to full form with this marvelously crafted, reality-based, and character-driven thriller. Feeling like it should have been made in a previous decade, Above Suspicion is the kind of intelligent and adult-oriented movie we don\u2019t see enough of, anymore. The revelatory and provocative film hits all the right notes and […]<\/p>\n","protected":false},"author":2,"featured_media":2332,"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-2280","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\/2280","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=2280"}],"version-history":[{"count":7,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/2280\/revisions"}],"predecessor-version":[{"id":3242,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/2280\/revisions\/3242"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media\/2332"}],"wp:attachment":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media?parent=2280"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/categories?post=2280"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/tags?post=2280"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}