{"id":4023,"date":"2023-02-15T13:26:36","date_gmt":"2023-02-15T13:26:36","guid":{"rendered":"http:\/\/otherpeoplesmovies.com\/?p=4023"},"modified":"2024-05-28T15:09:35","modified_gmt":"2024-05-28T15:09:35","slug":"review-roundup-2023-releases","status":"publish","type":"post","link":"https:\/\/otherpeoplesmovies.com\/index.php\/2023\/02\/15\/review-roundup-2023-releases\/","title":{"rendered":"Review Roundup: 2023 Releases"},"content":{"rendered":"\n
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Adam Driver in 65<\/figcaption><\/figure>\n\n\n\n

65<\/strong><\/p>\n\n\n\n

An astronaut (Adam Driver) and a teenage girl (Ariana Greenblatt) are the only survivors of a crash landing on a planet filled with dangerous prehistoric creatures. The film is consistently exciting and engaging, and is filled with a number of great jump scares, moments of tension, and impressive visual effects. Though logic is a bit glazed over throughout, it\u2019s usually hard to care because 65 <\/em>does such a great job of putting you right in the middle of its action and making you forget about pretty much everything else for the majority of its brief ninety-minute duration.<\/p>\n\n\n\n

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

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Ben Affleck in Air<\/figcaption><\/figure>\n\n\n\n

Air<\/strong><\/p>\n\n\n\n

Set in 1984, this nostalgia-laden film tells the fact-based story about the business practices and struggle involved with the genesis of Nike\u2019s Air Jordan tennis shoe. At first glance, the story doesn\u2019t exactly seem like a fascinating one that urgently needs to be told. That being taken into account, it\u2019s all the more impressive how entertaining, engrossing, and moving the final product actually is.<\/p>\n\n\n\n

Featuring profound and funny writing by Alex Convery, impressively sturdy filmmaking by director Ben Affleck and his behind-the-scenes team, and flawless performances by Matt Damon, Affleck, Jason Bateman, Viola Davis, Chris Messina, and Chris Tucker, the film boasts all-around impressive craftsmanship. Air <\/em>is a surprisingly great film about perseverance, determination, and hope. It is a much-needed feel-good film executed with intelligence, care, and extraordinarily sincere heart.<\/p>\n\n\n\n

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

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Albert Brooks and Rob Reiner<\/figcaption><\/figure>\n\n\n\n

Albert Brooks: Defending Life<\/strong><\/p>\n\n\n\n

This documentary on comedian\/actor\/writer\/director Albert Brooks is a lively, hilarious, and heartfelt historical examination of not only his life and career, but also of comedy in general. Centered on an intimate conversation between Brooks and lifelong friend Rob Reiner (who also directed), the film is littered with clips from Brooks\u2019 television appearances and films and also features interviews with well-known comedians, actors, and filmmakers who cite Brooks as a major influence. Albert Brooks: Defending My Life <\/em>is a warranted and joyous celebration of a one-of-a-kind comedic genius whose outstanding and brilliant body of work has yet to be appreciated by mainstream audiences the way in which it deserves.<\/p>\n\n\n\n

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

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Paul Mescal and Andrew Scott in All of Us Strangers<\/figcaption><\/figure>\n\n\n\n

All of Us Strangers<\/strong><\/p>\n\n\n\n

A lonely, gay screenwriter (Andrew Scott) starts to inexplicably communicate with his deceased parents (Jamie Bell and Claire Foy) while starting a relationship with an exciting and mysterious man (Paul Mescal) who lives in his building. Ethereally and surreally beautiful, precisely photographed, and exceptionally performed, this thoughtfully profound film opens many wonderful doors leading to many complex ideas that require deep contemplation.<\/p>\n\n\n\n

The effectively moody film\u2019s overall point is hard to digest in one sitting and with only one viewing, but the experience is still full and unique. The staggering quality of its execution, the grandness of its themes, and the powerful emotions it begets enable All of Strangers <\/em>to rise above its minor faults and difficult opaqueness to be a fascinating experiment that almost entirely pays off.<\/p>\n\n\n\n

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

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Jeffrey Wright in American Fiction<\/figcaption><\/figure>\n\n\n\n

American Fiction<\/strong><\/p>\n\n\n\n

A Black writer (Jeffrey Wright) writes a stereotype-laden book out of spite and, to his absolute horror, sees it become a smash success. The satire is sharp, the laughter is consistent, the characters are all believably human, and the story\u2019s overall point of Black artists having to appease simplistic and ignorant white viewpoints is clearly and intelligently communicated. Unfortunately, the film falters with its sometimes sluggish pacing (it could have been fifteen minutes shorter) and its inability to end correctly or satisfactorily.<\/p>\n\n\n\n

Faults aside, however, American Fiction <\/em>is a must-see for those who want their beliefs intelligently tested and their mind thoughtfully provoked.<\/p>\n\n\n\n

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

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Sandra H\u00fcller and Swann Arlaud in Anatomy of a Fall<\/figcaption><\/figure>\n\n\n\n

Anatomy of a Fall<\/strong><\/p>\n\n\n\n

A successful novelist (Sandra H\u00fcller) is accused of murdering her husband (Samuel Theis) and her visually impaired son (Milo Machado-Graner) is the main witness. Beautifully acted and exceptionally realized by its entire filmmaking team, this character-based mystery is an overall compelling film-watching experience. Unfortunately, its pacing drags more and more as it progresses and, most frustrating of all, it winds up disappointing heavily by favoring indecisive ambiguity over a satisfying dramatic resolution.<\/p>\n\n\n\n

Anatomy of a Fall <\/em>is an exceptionally crafted film that showcases many merits and moments of undeniable quality, but its notable faults keep it from being truly memorable and fantastic.<\/p>\n\n\n\n

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

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Paul Rudd, Kathryn Newton, and Evangeline Lilly in Ant-Man and the Wasp: Quantumania<\/figcaption><\/figure>\n\n\n\n

Ant-Man and the Wasp: Quantumania<\/strong><\/p>\n\n\n\n

This third entry in the MCU\u2019s Ant-Man <\/em>series is an overall passable, entertaining, and endearing film that manages to primarily stand on its own without relying too heavily on the many MCU entries that preceded it. That being said, the film\u2019s pacing is sometimes haphazard, its storyline is far too cluttered, and its two-hour-plus runtime is at least fifteen minutes too long. Though it contains some cool visual effects and inventive designs, has select moments of heart and humor, and, at least, tries to do something different from the previous two entries in the series, Ant-Man and the Wasp: Quantumania <\/em>can\u2019t fully overcome its inherently bloated and rough nature.<\/p>\n\n\n\n

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

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Jason Momoa in Aquaman and the Lost Kingdom<\/figcaption><\/figure>\n\n\n\n

Aquaman and the Lost Kingdom<\/strong><\/p>\n\n\n\n

This last entry in the DCEU before James Gunn\u2019s DCU officially begins is an overall fun though mildly underwhelming piece of work. It has a cluttered and generic plot, underutilized and underdeveloped supporting characters, and it doesn\u2019t have anything particularly groundbreaking to offer the superhero genre.<\/p>\n\n\n\n

That being said, the beautiful visuals, well-choreographed action sequences, tight pacing, and lead Jason Momoa\u2019s natural charisma all work together to create an overall entertaining couple of hours. Aquaman and the Lost Kingdom <\/em>isn\u2019t quite the grand and awe-inducing sendoff that the DCEU needs and deserves, but it still manages to pass and do just fine, regardless.<\/p>\n\n\n\n

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

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Jason Schwartzman and Tom Hanks in Asteroid City<\/figcaption><\/figure>\n\n\n\n

Asteroid City<\/strong><\/p>\n\n\n\n

The films of Wes Anderson all belong in their own individual genre. They are similar to one another but unlike anything else. They all feature an overall unemotional execution, an individualistically quirky tone, obsessive attention to detail, clean and precise cinematography, theatrically stylized staging, dry humor, absurdist wit, and deadpan performances from an all-star cast. His films are as easily identifiable as those of any all-star auteur, and they all have the connective thread of being the product of Anderson\u2019s unparalleled sensibilities.<\/p>\n\n\n\n

Asteroid City <\/em>contains all these qualities but it is, unfortunately, not one of Anderson\u2019s best or most accessible works. The characters lack clear definition, the play-within-a-film storyline about a small town\u2019s reaction to an alien encounter is meandering and sporadically dull, and any discernible overall point is primarily lost and\/or uncommunicated. There are moments of exception, but the frustratingly uneven film simply doesn\u2019t demand its audience\u2019s attention or focus with any consistency. Though it has plenty of charm and style, Asteroid City <\/em>simply doesn\u2019t live up to the potential of its creator\u2019s exceptional talents.<\/p>\n\n\n\n

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

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Ryan Gosling and Margot Robbie in Barbie<\/figcaption><\/figure>\n\n\n\n

Barbie<\/strong><\/p>\n\n\n\n

For a big-budget studio production that is largely geared toward children and teenagers, this film is a surprisingly intelligent, edgy, and profound piece of satire on gender politics. Compared to adult-oriented productions with similar themes, however, it\u2019s a tad obvious. With pacing that sometimes drags (it could have been a good fifteen minutes shorter) and an affinity for overly silly humor that only works as often as it doesn\u2019t, the movie sometimes falls flat. Its excessively talented co-writer and director, Greta Gerwig, could have made a smarter movie, but, in all fairness, most likely not without losing some of its commercial appeal. As it stands, Barbie <\/em>is an entertaining and thoughtful work whose criticisms of modern misogyny and whose message of female empowerment can be easily understood by mass audiences\u2014and this is nothing short of a good thing any way you cut it.<\/p>\n\n\n\n

Margot Robbie injects humanity and humor into her role as the titular plastic character, and Ryan Gosling is simply priceless as her airheaded and hopelessly needy suitor, Ken.<\/p>\n\n\n\n

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

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Jay Baruchel and Matt Johnson in BlackBerry<\/figcaption><\/figure>\n\n\n\n

BlackBerry<\/strong><\/p>\n\n\n\n

This fast-paced, lively, funny, and heartbreaking depiction of the rise and fall of the BlackBerry phone (and, not to mention, the beginning of smartphones) is an overall standout film. It may belong to a group of like-minded, fact-based titles that depict cutthroat, high-stakes business practices associated with the national breakthrough of popular and influential products (The Founder, Air, Pain Hustlers<\/em>), but that doesn\u2019t steal too heavily from its overall thunderous impact.<\/p>\n\n\n\n

The depiction of the eventual downfall of the BlackBerry isn\u2019t quite as fascinating, exciting, or developed as the rise. The film\u2019s energy dips like a sugar crash in its last act, but it still manages to have a satisfying and informative conclusion that meets the promise and strength of its beginning. Jay Baruchel, co-writer\/director Matt Johnson, and Glenn Howerton all deliver knockout performances that do justice to BlackBerry<\/em>\u2019s intelligent and insightful intentions.<\/p>\n\n\n\n

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

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Blue Beetle<\/figcaption><\/figure>\n\n\n\n

Blue Beetle<\/strong><\/p>\n\n\n\n

Though it features the members of a lovable and vivacious Mexican-American family as its central protagonists, there is nothing else that is particularly memorable or unique about this DCEU superhero effort. The action is forgettable, the story is flat, and the visual effects are completely uninspired. Aside from containing some quality characters and performances, Blue Beetle <\/em>has nothing new to offer its genre and is an unfortunate example of how current-day comic book movies are significantly running out of steam.<\/p>\n\n\n\n

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

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Vivien Lyra Blair in The Boogeyman<\/figcaption><\/figure>\n\n\n\n

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

This slow-burning, character-driven horror film is based on an early Stephen King short story and it shows. It features the author\u2019s love of depicting true-to-life relationships within damaged families and combining it with creepy-crawly supernatural horror elements that endlessly shock, frighten, and entertain. Though its pacing is sometimes sluggish and it doesn\u2019t offer anything particularly new to its genre, The Boogeyman <\/em>is still a well-acted, well-crafted, and memorable effort that offers some keen insight into the human condition while also delivering some solid and effective scares along the way.<\/p>\n\n\n\n

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

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Carrie Coon and Keira Knightley in Boston Strangler<\/figcaption><\/figure>\n\n\n\n

Boston Strangler<\/strong><\/p>\n\n\n\n

Keira Knightley and Carrie Coon deliver committed, focused, and grounded performances as Loretta McLaughlin and Jean Cole, two real-life reporters who tackled the Boston Strangler case in the early 1960s. The film, which is a fascinating history lesson that depicts the difficulties women faced (and continue to face) while trying to find equal opportunities in male-dominated workforces, is engaging more on an intellectual level than it is on an emotional one. Boston Strangler <\/em>is consistently interesting but often forgets to pack dramatic power, resulting in a well-made film that thoughtfully examines some important issues and topics but isn\u2019t exactly thrilling to watch.<\/p>\n\n\n\n

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

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Chicken Run: Dawn of the Nugget<\/figcaption><\/figure>\n\n\n\n

Chicken Run: Dawn of the Nugget<\/strong><\/p>\n\n\n\n

Though the irreplaceable directorial touches of Nick Park and Peter Lord and the vocal talents of Mel Gibson and Julia Sawalha are sorely missed in this sequel to 2000\u2019s Chicken Run, <\/em>it\u2019s still a movie with a good deal to offer. The family-friendly satire is intelligent, the story is clever, the stop-motion animation is beautiful, and the character and set designs showcase endless skill and ingenuity.<\/p>\n\n\n\n

The absurd humor is more modestly amusing than it usually is laugh-out-loud funny, and it takes some time before the story becomes engrossing enough to demand full attention. Forgivable faults aside, Chicken Run: Dawn of the Nugget <\/em>is still a highly creative and entertaining movie that will delight audiences of just about any age.<\/p>\n\n\n\n

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

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Keri Russell in Cocaine Bear<\/figcaption><\/figure>\n\n\n\n

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

Inspired by true events, this film follows the murderous rampage of a mammoth black bear after it ingests an absurd amount of a drug dealer\u2019s lost cocaine. The premise has the potential to be a campy good time, but Cocaine Bear <\/em>is, unfortunately, a disappointing horror\/comedy that is neither scary nor funny. Its forced and overbearingly quirky tone unintentionally softens moments meant to be terrifying, suspenseful, and thrilling.<\/p>\n\n\n\n

Despite an exceptionally talented cast (Keri Russell, O\u2019Shea Jackson Jr., Isiah Whitlock Jr., Alden Ehrenreich, Ray Liotta, Margo Martindale) and some sporadic moments of innovation by director Elizabeth Banks and her filmmaking team, the film fails to make its true nature and intentions clear. It mostly succeeds at being a befuddling mixture of conflicting tones that overshadow most of its strongest and most noteworthy aspects.<\/p>\n\n\n\n

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

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Angela Bundalovic in Copenhagen Cowboy<\/figcaption><\/figure>\n\n\n\n

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

Creator\/director Nicolas Winding Refn (Drive, Too Old to Die Young<\/em>) delivers another surreal and dreamy crime drama that is executed with stylistic innovation and is primarily bathed in blue\/red\/magenta lighting. Unfortunately, Refn\u2019s signature style and visuals are about all this six-part miniseries has going for it. With Copenhagen Cowboy, <\/em>the filmmaker has crawled so far up his own ass that it\u2019s hard to decipher what the hell is going on for the vast majority of its duration.<\/p>\n\n\n\n

Character definitions and relationships are sloppily underdeveloped, the storyline is intentionally and pretentiously vague, and the pacing moves slower than a sickly snail moving uphill. It\u2019s hard to believe that a filmmaker as great and as unique as Refn could create such a massive misfire, but the evidence is there for over five hours of this overall failed, painfully boring, and maddeningly unclear filmmaking venture.<\/p>\n\n\n\n

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

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Dar Salim and Jake Gyllenhaal in The Covenant<\/figcaption><\/figure>\n\n\n\n

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

Set during the Afghanistan war, this film centers on a sergeant (Jake Gyllenhaal) and an interpreter (Dar Salim) who are forced to survive hostile enemy territory and make their way to safety alone. Co-writer\/director Guy Ritchie finally completely ditches his signature kinetic style and overtly obnoxious bravado for something more grounded and maturely inconspicuous. The Covenant<\/em> is an intense and dramatically engaging film that is executed with care, realism, and sincerity. It isn\u2019t anything we haven\u2019t seen before and it starts to overstay its welcome towards the end, but the film is made so well that it\u2019s easy to forgive its faults. Gyllenhaal and Salim both excel in their roles, delivering fiercely committed performances that only add to the movie\u2019s impressive believability.<\/p>\n\n\n\n

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

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Madeleine Yuna Voyles in The Creator<\/figcaption><\/figure>\n\n\n\n

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

During a futuristic war between mankind and artificial intelligence, a human solider (John David Washington) befriends an android in the form of a child (Madeleine Yuna Voyles) that is the enemy\u2019s most powerful asset, forcing him to question his beliefs and duties. Great and topical ideas, wonderful performances, and downright poetic moments make the movie notably stand out from other science fiction\/action titles with similar themes and storylines.<\/p>\n\n\n\n

Unfortunately, the emotions don\u2019t quite soar the way they\u2019re obviously intended to in key dramatic moments, the action sometimes lacks thrills and suspense, primary themes aren\u2019t fully explored or properly developed, and the movie increasingly has trouble bouncing back from its consistently uneven pacing. Due to these faults, The Creator <\/em>has to settle on being a pretty good movie instead of the great one its potential often suggests it could be.<\/p>\n\n\n\n

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

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Nicolas Cage In Dream Scenario<\/figcaption><\/figure>\n\n\n\n

Dream Scenario<\/strong><\/p>\n\n\n\n

Nicolas Cage excels as a college professor who becomes a worldwide celebrity after he inexplicably starts appearing in countless peoples\u2019 dreams. Innovative, absurdly hilarious, and often surreally fascinating, the film is an overall Charlie Kaufman-esque success. Unfortunately, it doesn\u2019t quite know how to wrap itself up, as the last act somewhat mars the movie by presenting ideas that are too concrete and specific for a premise that would have been better left mysteriously and tantalizingly abstract.<\/p>\n\n\n\n

Dream Scenario <\/em>falls short of its potential to be great, but it still manages to be a compelling, amusing, and unique take on modern-day celebrity and the backlash that eventually and inevitably comes with it.<\/p>\n\n\n\n

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

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Paul Dano in Dumb Money<\/figcaption><\/figure>\n\n\n\n

Dumb Money<\/strong><\/p>\n\n\n\n

Based on a true story that took place in the early 2020s, this film stars the limitless Paul Dano as an internet personality who becomes a stock market sensation. Director Craig Gillespie admirably tones down the kinetically lively style and sarcastic tone that dominates much of his recent work in favor of an even pace and a mature and observational execution.<\/p>\n\n\n\n

Unfortunately, a story about the rise and fall of stocks isn\u2019t exactly riveting, and it doesn\u2019t help matters that high-stakes drama is lacking due to unempathetic characters who don\u2019t start to feel satisfyingly developed until the movie\u2019s end. However, solid filmmaking, the successful communication of facts about Wall Street, and excellent performances from Dano, Seth Rogen, Pete Davidson, and Shailene Woodley (among others) help to make Dumb Money <\/em>an interesting and modestly entertaining movie–though it\u2019s a bit far off from being a great one.<\/p>\n\n\n\n

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

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Michelle Rodriguez and Chris Pine in Dungeons & Dragons: Honor Among Thieves\n<\/figcaption><\/figure>\n\n\n\n

Dungeons & Dragons: Honor Among Thieves<\/strong><\/p>\n\n\n\n

Select moments of well-timed and quirky humor, well-staged action sequences, and the movie star charms of Chris Pine, Michelle Rodriguez, and Hugh Grant can\u2019t quite make this adaptation of the ever-popular role-playing game something that is truly worth seeing. The story is nonsensical and cluttered, characters and their relationships are thinly developed, and the rather shoddy (though occasionally inventive) digital effects are often unbelievable. There are a few entertainingly noteworthy aspects to Dungeons & Dragons: Honor Among Thieves, <\/em>but none of them can fully save the film from being a hopelessly average effort.<\/p>\n\n\n\n

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

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Denzel Washington in The Equalizer 3<\/figcaption><\/figure>\n\n\n\n

The Equalizer 3<\/strong><\/p>\n\n\n\n

Star Denzel Washington, director Antoine Fuqua, and screenwriter Richard Wenk return for another graphic, brutal, and entertaining entry in their action\/thriller series based on the popular eighties television series. The story takes itself a tad too seriously and is a bit too involved to be enjoyable on a purely escapist level, and the action is often too stylized and postured to truly feel real.  As a result, the film struggles to fully and solidly exhibit a single and dominant tone. However, Washington\u2019s endless icy charisma and Fuqua\u2019s bold directorial flourishes, however distracting they can be at times, make The Equalizer 3 <\/em>an overall worthwhile effort.<\/p>\n\n\n\n

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

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Lily Sullivan in Evil Dead Rise <\/figcaption><\/figure>\n\n\n\n

Evil Dead Rise<\/strong><\/p>\n\n\n\n

After an initial horror\/comedy trilogy that was masterfully directed by Sam Rami, a straightforward horror reboot that was skillfully directed by Fede Alvarez, and a playfully gruesome three-season television series, it\u2019s hard not to walk into a new Evil Dead <\/em>movie without some serious expectations. Unfortunately, those expectations are not met with this flat, dull, and uninspired entry into the series. The film lacks the darkly humorous personality, twisted ingenuity, and demented charm of its predecessors. It relies far too heavily on cheap gross-out scares that increasingly lose their effect as the film progresses. Evil Dead Rise<\/em> is a typical and generic horror effort that offers absolutely nothing new to its genre or its otherwise exceptional universe.<\/p>\n\n\n\n

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

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Jason Statham and Megan Fox<\/figcaption><\/figure>\n\n\n\n

Expend4bles<\/strong><\/p>\n\n\n\n

This fourth entry in the Expendables <\/em>franchise lacks the macho charm, personality, and humor of its predecessors. Though it has its rare moments of quality, it is overall marred by a lack of ingenuity, a dull execution, poor writing (particularly for Megan Fox\u2019s newly added character), and distractingly bad digital effects. Expend4bles <\/em>is a disappointing, stale, and tired ride that forgets what made the previous films in its series so completely and brainlessly fun.<\/p>\n\n\n\n

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

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Christ Hemsworth in Extraction 2<\/figcaption><\/figure>\n\n\n\n

Extraction 2<\/strong><\/p>\n\n\n\n

Chris Hemsworth returns as Tyler Rake, a highly skilled mercenary who is also apparently immortal, in this sequel that heavily and surprisingly improves upon its original. Most of the characters and pretty much all of the story aren\u2019t particularly interesting, but that hardly matters because the true point of the move is its action sequences, and they are exceedingly and captivatingly well-done. The frequent use of extremely long takes lets the action unfold naturalistically onscreen in a way that makes their skillful choreography and impressive stunt work stand out. Extraction 2 <\/em>may not be the most unique movie, but its skilled, ambitious, and lively execution makes it a thrilling and memorable experience, regardless.<\/p>\n\n\n\n

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

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Mark Wahlberg in The Family Plan<\/figcaption><\/figure>\n\n\n\n

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

While this film may owe a substantial debt to True Lies, <\/em>it still has just enough energy and personality to stand on its own. Mark Wahlberg stars as a former assassin whose incognito life as a suburban husband and father is disrupted after his cover is blown on social media. Though it can be a tad cutesy and a bit too self-aware of its own cleverness at times, The Family Plan <\/em>is still an overall endearing and entertaining effort that mindlessly and breezily gets the job done.<\/p>\n\n\n\n

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

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Jason Momoa in Fast X<\/figcaption><\/figure>\n\n\n\n

Fast X<\/strong><\/p>\n\n\n\n

This tenth installment in The Fast and the Furious <\/em>series is every bit as joyously ridiculous, unrelentingly kinetic, and purely entertaining as its predecessors. Featuring a plethora of tough guys and girls, fast cars, big guns, extraordinary explosions, gravity-defying stunts, and plot twists that stretch all forms of believability, Fast X <\/em>is great fun if you just remember to check your brain at the door. Jason Momoa steals the show as the film\u2019s primary villain, exhibiting a bold and theatrical exuberance that would make Nicolas Cage proud.<\/p>\n\n\n\n

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

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Adam Driver in Ferrari<\/figcaption><\/figure>\n\n\n\n

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

Directed by Michael Mann, this biopic centers on Enzo Ferrari (Adam Driver) and his entry in the 1957 Mille Miglia race in Italy. The film will probably be fascinating to car lovers\/race enthusiasts, but, for everyone else, it\u2019s an overall tedious chore through which to sit. It takes too long to get moving, its characters are only sporadically interesting or relatable, and it lacks any form of dramatic urgency or tension until its final moments.<\/p>\n\n\n\n

On the positive side and like all Mann-directed films, the filmmaking is top-notch and refined. Also, the performances are all dedicated and believable, particularly Driver\u2019s. On the surface, the film appears to be bursting with quality. Ferrari<\/em>\u2019s failure to dramatically engage its audience for the majority of its duration, however, keeps it from being a filmgoing experience that is worth having.<\/p>\n\n\n\n

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

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Five Nights at Freddy’s<\/figcaption><\/figure>\n\n\n\n

Five Nights at Freddy\u2019s<\/strong><\/p>\n\n\n\n

Despite a clever and potentially fun premise involving lethal animatronic characters residing at a family-themed pizzeria, this disappointing film can\u2019t help but be a tedious chore through which to sit. Unnecessary subplots interfere with the pacing, lifeless characters (despite being portrayed by talented actors) fail to provide the audience with anyone to care about or identify with, and the core action of the story takes far too long to begin. Based on the popular video game, Five Nights at Freddy\u2019s <\/em>may appeal to fans familiar with its source material, but will most likely be an excruciatingly dull experience for just about everyone else.<\/p>\n\n\n\n

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

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Melissa McCarthy in Geniie<\/figcaption><\/figure>\n\n\n\n

Genie<\/strong><\/p>\n\n\n\n

Melissa McCarthy again proves in this family-friendly Christmastime movie that she is every bit as lively, affable, and entertaining doing clean comedy as she is doing the edgier, raunchier, and adult-oriented type of comedy that launched her career. McCarthy plays a genie who attempts to help a workaholic man (Paapa Essiedu) get his estranged family back in time for the holidays. Though the film is fairly formulaic and predictable, it\u2019s still a well-made, well-acted, and entirely entertaining piece of work. Genie<\/em> is a nice, heartwarming, and adorable film that is guaranteed to bring you some good, old-fashioned holiday cheer.<\/p>\n\n\n\n

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

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Archie Madekwe in Gran Turismo<\/figcaption><\/figure>\n\n\n\n

Gran Turismo<\/strong><\/p>\n\n\n\n

A gamer (Archie Madekwe) who devotes all his time to playing the Gran Turismo <\/em>car racing video game is presented with the opportunity to race in reality. Based on a true story, this formulaic and feel-good movie hits many familiar notes, but it does so with enormous heart and charm. Director Neill Blomkamp and his team of filmmakers execute Gran Turismo <\/em>with endless ingenuity and impressive skill. The resulting film hits all the right notes and often makes you forget how predictable its story is. David Harbour delivers an Oscar-worthy performance as a tough-as-nails racing coach with a hidden (though unsurprising) heart of gold.<\/p>\n\n\n\n

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

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Godzilla Minus One<\/figcaption><\/figure>\n\n\n\n

Godzilla Minus One<\/strong><\/p>\n\n\n\n

This movie is proof that if you want a Godzilla movie done right, you have to go to Japan, its country of origin. Not only is it a great, suspenseful monster movie with endlessly impressive effects, but it\u2019s also a beautiful and surprisingly poetic metaphor about the tragedy, destruction, and consequences of war. Godzilla Minus One <\/em>is an emotional and thrilling ride that thrives due to an intelligent and sensitive execution and overall flawless craftsmanship.<\/p>\n\n\n\n

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

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Tina Fey and Kenneth Branagh in A Haunting in Venice<\/figcaption><\/figure>\n\n\n\n

A Haunting in Venice<\/strong><\/p>\n\n\n\n

Kenneth Branagh returns as both director and star with his third depiction of Agatha Christie\u2019s classic detective character, Poirot. The delightful and alluring film is finely crafted, well-acted, and evenly paced. Though it occasionally lacks dramatic urgency and power in select scenes, the film never ceases to quickly recover and envelop the audience in its enticing murder mystery storyline. Minor faults aside, A Haunting in Venice <\/em>is an overall intelligent and mesmerizing piece of escapist entertainment.<\/p>\n\n\n\n

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

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Gal Gadot in Heart of Stone<\/figcaption><\/figure>\n\n\n\n

Heart of Stone<\/strong><\/p>\n\n\n\n

This Mission Impossible-<\/em>esque actioner starring Gal Gadot goes through some pretty familiar motions, but is still well-executed enough to be moderately worthwhile. Involving action, impressive stunts, capable filmmaking, and sturdy performances make the film rise above its generic and derivative design. Heart of Stone <\/em>isn\u2019t anything new, though it does provide enough thrills and spectacle for an entertaining couple of hours.<\/p>\n\n\n\n

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

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Paul Giamatti in The Holdovers<\/figcaption><\/figure>\n\n\n\n

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

Paul Giamatti simply shines as a strict prep school teacher in 1970 who is forced to watch over the students who were unable to go home over Christmas break. The film is plenty charming and moving, though it does drag, overstay its welcome, and run out of steam towards the end. However, The Holdovers <\/em>is still a solidly made, intelligent, and endearingly humorous character study. It just forgets to consistently keep a tight pace and sometimes loses its audience\u2019s interest and focus as a result.<\/p>\n\n\n\n

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

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Alexander Skarsgard in Infinity Pool<\/figcaption><\/figure>\n\n\n\n

Infinity Pool<\/strong><\/p>\n\n\n\n

While on vacation on a foreign island, a young married couple (Alexander Skarsgard and Cleopatra Coleman) joins up with up another couple (Adam Boncz and Mia Goth), has a little too much fun, and consequently gets into some pretty hefty legal trouble. The film gets increasingly surreal, aggressively psychedelic, bluntly sexual, and violently horrific from there.<\/p>\n\n\n\n

The film\u2019s screenplay (by Brandon Cronenberg, who also directed) goes off the rails in its second half, losing sight of an overall point and the exceptional quality of its first half. If Infinity Pool <\/em>knows what it\u2019s ultimately trying to say, it holds its cards rather close to the chest and plays it frustratingly coy. At its best, the film is a disturbingly Kafkaesque nightmare executed with innovation and skill. At its worst, it is a muddied and unnecessarily graphic (to a distracting degree) film that disempowers some highly intelligent ideas with cheap shock value.<\/p>\n\n\n\n

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

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Willem Dafoe in Inside<\/figcaption><\/figure>\n\n\n\n

Inside<\/strong><\/p>\n\n\n\n

Willem Dafoe stars as an art thief who gets trapped in a high-security penthouse while in the middle of his latest heist. He then has to utilize his wits and survival instinct while simultaneously attempting his escape and fighting off a steady descent into madness. Inside <\/em>is an overall intense and riveting film whose success is heavily indebted to the strength, commitment, and endless intensity of Dafoe\u2019s performance. Though it concludes with an unsatisfying ending that is more frustratingly unfinished than it is tantalizingly ambiguous, the journey getting there is still memorable and worthwhile.<\/p>\n\n\n\n

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

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Keanu Reeves in John Wick: Chapter 4<\/figcaption><\/figure>\n\n\n\n

John Wick: Chapter 4<\/strong><\/p>\n\n\n\n

Time and repeat viewings will tell whether or not this fourth part in the John Wick <\/em>action franchise is a victim of its own inflated hype. For my first viewing of it, I found the film to, at times, be overly long, roughly paced, disappointingly uninspired, and lazily derivative of previous installments. Keanu Reeves is still a lovable badass in the title role and director Chad Stahelski delivers some sporadic moments of ingenuity and well-executed carnage, but their contributions just aren\u2019t enough to make the film stand up to the exceptional quality of its predecessors. John Wick: Chapter 4 <\/em>is a tired sequel to an otherwise fantastic series that is most likely now due for permanent retirement.<\/p>\n\n\n\n

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

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Ben Kingsley in Jules<\/figcaption><\/figure>\n\n\n\n

Jules<\/strong><\/p>\n\n\n\n

Ben Kingsley stars as an elderly man suffering from early signs of dementia who comes across a crashed spaceship manned by as peaceful alien in his backyard. The film is primarily a quirky and sincere character study that also happens to contain some amusing science fiction elements. The results are wholly charming, inventive, and, ultimately, quite touching. Though the under-developed government-employed antagonists feel tacked on to the story, Jules <\/em>is still a successful and unique film that thoughtfully examines the unavoidable journey of growing old.<\/p>\n\n\n\n

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

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Kim Hyun-joo in Jung_E<\/figcaption><\/figure>\n\n\n\n

Jung_E<\/strong><\/p>\n\n\n\n

In the 22nd<\/sup> century, the brain of a heroic and skilled soldier (Kim Hyun-joo) is repeatedly cloned to help win a war that ravages the few who remain on a now-inhospitable Planet Earth. This South Korean science fiction film is another smart, exciting, and thoughtful genre effort from writer\/director Sang-ho Yeon (Train to Busan<\/em>). While some of its more interesting ideas are underdeveloped and forced to take a backseat to the action and spectacle, Jung_E<\/em> still manages to, overall, be an insightful and thought-provoking film that never forgets to entertain.

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

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Dave Bautista in Knock at the Cabin<\/figcaption><\/figure>\n\n\n\n

Knock at the Cabin<\/strong><\/p>\n\n\n\n

This apocalypse-themed horror\/thriller from co-writer\/director M. Night Shyamalan is a thought-provoking, suspenseful, and overall unpredictable film that should successfully keep its viewers engrossed for the majority of its duration. The film could have used a tad more development of some of its story aspects, character relationships, and character motivations, but it also deserves credit for keeping things simple, direct, and intensely tight. Dave Bautista delivers a powerhouse performance that impressively stands out from the film\u2019s exceptionally talented ensemble cast. Knock at the Cabin <\/em>is an intelligent and dramatically robust exercise in nonstop cinematic tension.<\/p>\n\n\n\n

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

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Mahershala Ali, Myha’la, Julia Roberts, and Ethan Hawke in Leave the World Behind<\/figcaption><\/figure>\n\n\n\n

Leave the World Behind<\/strong><\/p>\n\n\n\n

After a cybersecurity attack causes a widespread blackout, a vacationing family is forced to survive without life\u2019s modern luxuries. Echoing similar stories found in The Twilight Zone <\/em>episode \u201cThe Monsters Are Due on Maple Street\u201d and the film The Trigger Effect, Leave the World Behind<\/em> manages to stand on its own by making its events seem plausible with the exploration of real-life modern threats. Interesting camerawork, a consistently suspenseful tone, and excellent performances (Ethan Hawke, Julia Roberts, and Mahershala Ali all excel) help make the film\u2019s frustratingly inconsistent pacing somewhat forgivable. Faults aside, Leave the World Behind <\/em>is a topical and intelligent film that manages to get its warnings and its point across by way of overall enthralling and intense storytelling.<\/p>\n\n\n\n

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

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Idris Elba in Luther: The Fallen Sun<\/figcaption><\/figure>\n\n\n\n

Luther: The Fallen Sun<\/strong><\/p>\n\n\n\n

A spinoff of the BBC One series, Luther, <\/em>this film mostly stands on its own for those, like myself, who are unfamiliar with the show. A few character details and a couple of storyline beats could have been better developed and explained to those new to the world and the former detective character portrayed with intensity and likability by Idris Elba, but such details don\u2019t detract too heavily from the film\u2019s overall success. Luther: The Fallen Sun <\/em>is an enjoyable and suspenseful detective-hunting-a-serial-killer (a believably sadistic Andy Serkis) thriller that is executed with stylistic grit and impressive skill.<\/p>\n\n\n\n

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

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M3GAN<\/figcaption><\/figure>\n\n\n\n

M3GAN<\/strong><\/p>\n\n\n\n

A recently orphaned child (Violet McGraw) goes to live with her robotics developer aunt (Allison Williams), who can\u2019t think of any other way to properly comfort her niece than to build her a robot companion in the form of a young girl. It being a Blumhouse horror movie, the robot, of course, becomes dangerously self-aware and maniacally homicidal.<\/p>\n\n\n\n

M3GAN<\/em> has fun with its clever premise, never taking itself too seriously and consistently showcasing an amusingly and darkly humorous tone. Though it ceases to take full advantage of its best ideas at times, especially with a formulaic climax that could have belonged to dozens of other horror movies, it still manages to be an overall intelligent and joyously demented romp that has solid performances and is executed with skilled filmmaking.<\/p>\n\n\n\n

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

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Carey Mulligan and Bradley Cooper in Maestro<\/figcaption><\/figure>\n\n\n\n

Maestro<\/strong><\/p>\n\n\n\n

This biopic centers on the complex relationship between the complex composer Leonard Bernstein (an impressively unrecognizable and endlessly sensational Bradley Cooper) and his complex actress wife Felicia Montealegre Cohn Bernstein (a flawless Carey Mulligan). Director\/co-writer Cooper delivers a film with grand theatricality, stylistic ingenuity, and dramatic boldness. The only problem is that it doesn\u2019t seem to fully understand who its subjects are or have the ability to communicate why their lives are interesting enough to warrant their own large-scale production. As a result, it\u2019s not a particularly engaging experience, despite the care and talent that was obviously put into it. The flawed\/complicated genius thing has been done before, and, despite impeccable craftsmanship and select moments of emotional power, Maestro <\/em>doesn\u2019t do much new with it.<\/p>\n\n\n\n

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

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Daisy Ridley in The Marsh King’s Daughter<\/figcaption><\/figure>\n\n\n\n

The Marsh King\u2019s Daughter<\/strong><\/p>\n\n\n\n

An excellent and focused Daisy Ridley stars as a grown woman who is forced to confront her father (an equally excellent Ben Mendelsohn), who kidnapped her mother and held them both in captivity for a large portion of her childhood. Intense, suspenseful, and emotional, the highly effective film is a character-based thriller that is executed with thoughtfulness and high quality. While the screenplay occasionally (and lazily) stretches believability in favor of plot progression, the film is still consistently engaging throughout.<\/p>\n\n\n\n

The Marsh King\u2019s Daughter <\/em>is a finely crafted film that provides both solid entertainment and a healthy dose of dramatic power.<\/p>\n\n\n\n

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

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Brie Larson in The Marvels<\/figcaption><\/figure>\n\n\n\n

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

The MCU continues its downward trajectory with this silly, uneventful, and downright obnoxious entry to their canon. The thrills are basically nonexistent, the childish humor consistently falls flat, and the story never truly progresses in a manner that is interesting or involving. The Marvels <\/em>is a mere shell of what Marvel and superhero movies once were, and it is a prime example of what needs to be corrected as future films with similar intentions are being considered for production.<\/p>\n\n\n\n

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

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Natalie Portman and Julianne Moore in May December<\/figcaption><\/figure>\n\n\n\n

May December<\/strong><\/p>\n\n\n\n

Julianne Moore is as great as she always is in her portrayal of a grown woman who made headlines years prior for having an affair with a thirteen-year-old boy who later grew up to be her husband and the father of some of her children. Natalie Portman is also mesmerizing as the Hollywood actress who is researching Moore\u2019s life for a role she is playing in a movie about the affair.<\/p>\n\n\n\n

Director Todd Haynes and his filmmaking team execute the story with exquisite filmmaking, intoxicating style, subtly sharp humor, and bold emotions. While the film is never boring, its pacing is sometimes so loose that it feels aimless. May December<\/em> always gets back on track, however, and is ultimately a courageous and thought-provoking film that has edgy fun with tackling some fairly uncomfortable but highly relevant topics head-on.<\/p>\n\n\n\n

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

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Jason Statham in Meg 2: The Trench<\/figcaption><\/figure>\n\n\n\n

Meg 2: The Trench<\/strong><\/p>\n\n\n\n

Jason Statham reprises his role from the 2018 giant shark thriller\/horror movie in this ridiculous but fun sequel. This time, Statham has to survive numerous creatures (along with some more giant sharks) in the depths of the ocean, and the results are quite entertaining if you don\u2019t take pesky things like logic or reality into account. Meg 2: The Trench <\/em>knows it is not great cinema and unabashedly celebrates its B-movie design. It is a charmingly cheesy and endearingly silly good time.<\/p>\n\n\n\n

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

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Tom Cruise and Rebecca Ferguson in Mission: Impossible — Dead Reckoning Part One<\/figcaption><\/figure>\n\n\n\n

Mission: Impossible \u2013 Dead Reckoning Part One<\/strong><\/p>\n\n\n\n

This seventh entry in producer\/star Tom Cruise\u2019s action series contains all the spectacle, excitement, and death-defying stunts that audiences have come to expect. One of the most impressive things about the film is how, at nearly two hours and forty-five minutes, it just flies by without its runtime ever being felt. Its pacing is simply unrelenting, keeping the viewer enthralled in its adventure for the entirety of its duration.<\/p>\n\n\n\n

The film somewhat falters, however, with its over-reliance on knowledge of previous films in the series to make full sense. It expects audiences to remember the development of some of its characters and their relationships that had previously been spread out across several other films, never providing quite enough detail or humanity to make this particular film stand on its own. Adding to this drawback, the film is also designed to set up the next movie in the series and its storyline, while not entirely dissatisfying, is frustratingly unresolved. However much these faults interfere with its overall quality, Mission: Impossible \u2013 Dead Reckoning Part One <\/em>still manages to persevere and be an endlessly thrilling and captivating piece of popcorn entertainment.<\/p>\n\n\n\n

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

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Tony Shalhoub in Mr. Monk’s Last Case: A Monk Movie<\/figcaption><\/figure>\n\n\n\n

Mr. Monk\u2019s Last Case: A Monk Movie<\/strong><\/p>\n\n\n\n

This feature-length follow-up to the beloved Monk <\/em>show that ended in 2009 is a fun, charming, and occasionally dark (though always tasteful) effort. Tony Shalhoub, Taylor Howard, Jason-Grey Stanford, Melora Hardin, Ted Levine, and Hector Elizondo all reprise their roles and exhibit the same, special, and irreplaceably lifelike chemistry that helped make the crime\/mystery\/comedy series such a success. Though it relies a bit too heavily on its audience remembering details and characters from the long-over series, Mr. Monk\u2019s Last Case: A Monk Movie <\/em>is still a wonderful reminder of how great of a show Monk<\/em> was and how lovable the characters were within it.<\/p>\n\n\n\n

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

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Jennifer Lopez in The Mother<\/figcaption><\/figure>\n\n\n\n

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

Jennifer Lopez stars as an assassin who is forced to come out of hiding in order to protect the daughter she had to give up over a decade prior. Believable and developed characters and relationships, solid writing, sturdy filmmaking, all-around great performances, and endlessly riveting action make this effort a must-see. Its story may not be particularly original, but the care with which The Mother <\/em>is executed makes it stand out from many other, blander modern-day action films.<\/p>\n\n\n\n

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

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Michael Fassbender in Next Goal Wins<\/figcaption><\/figure>\n\n\n\n

Next Goal Wins<\/strong><\/p>\n\n\n\n

A reluctant soccer coach (Michael Fassbender) with nothing to lose is assigned to lead a notoriously poor America Samoa team, and the results are predictably humorous and inspiring. Set in 2014 and based on a true story, the film follows a pretty standard feel-good sports film formula. Though it doesn\u2019t offer any real surprises, it\u2019s still a pleasant, inclusive, and effervescent film with some cleverly quirky humor (no doubt courtesy of director\/co-writer Taika Waititi), lovable characters, and charming performances.<\/p>\n\n\n\n

Next Goal Wins<\/em> doesn\u2019t break any new ground or light the screen on fire, but it is quite likely to bring a large smile to your face many times throughout its duration.<\/p>\n\n\n\n

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

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Annette Bening in Nyad<\/figcaption><\/figure>\n\n\n\n

Nyad<\/strong><\/p>\n\n\n\n

Annette Bening is outstanding and Oscar-worthy as the true-life Diane Nyad, a swimmer who made multiple attempts in her sixties to be the first person to swim from Cuba to Florida. Jodie Foster is just as amazing as her endlessly loyal coach. The film may follow a traditional inspirational sports film formula, but it is so well crafted in every conceivable way that it simply doesn\u2019t matter. Nyad <\/em>is beautifully acted by every key player (Rhys Ifans also deserves to be singled out for praise), visually striking, inescapably engrossing, tear-jerkingly moving, and wholly uplifting. Seek this one out.<\/p>\n\n\n\n

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

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Aubrey Plaza in Operation Fortune: Ruse de Guerre<\/figcaption><\/figure>\n\n\n\n

Operation Fortune: Ruse de Guerre<\/strong><\/p>\n\n\n\n

This comedic spy thriller from co-writer\/director Guy Ritchie carries the filmmaker\u2019s trademark bravado, flashy style, and kinetic pacing without, as his films often have a tendency to do, too heavily teetering over the line towards obnoxiousness. Featuring playful performances by Jason Statham, Aubrey Plaza, Hugh Grant, Carey Elwes, Bugzy Malone, and Josh Hartnett, the film manages to mostly rise above its screenplay\u2019s overly involved and convoluted nature to be overall cleverly entertaining. It\u2019s hard to always stay focused on Operation Fortune: Ruse de Guerre <\/em>due to its unnecessarily complex design, <\/em>but the fun with which Ritchie and his cast and crew executed the film is, more times than not, rather contagious.<\/p>\n\n\n\n

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

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Chris Evans, Andy Garcia, and Emily Blunt in Pain Hustlers<\/figcaption><\/figure>\n\n\n\n

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

Emily Blunt, Chris Evans, and Andy Garcia deliver dynamite performances in this rise-and-fall tale of greedy pharmaceutical workers capitalizing off of selling dangerous administrations and dosages of fentanyl. Charged, flashy, and stylized in a similar manner to such films as The Big Short <\/em>and The Wolf of Wall Street, <\/em>the film is an entertaining ride, but there also isn\u2019t much that is particularly new being explored in it. That being said, the layered characters, great acting, intelligent writing, and lively execution all make Pain Hustlers <\/em>a film that is well worth seeing.<\/p>\n\n\n\n

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

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Pamela Anderson In Pamela: A Love Story<\/figcaption><\/figure>\n\n\n\n

Pamela: A Love Story<\/strong><\/p>\n\n\n\n

This moving and intelligent documentary is the perfect antithesis to the guilty pleasure Hulu miniseries, Pam & Tommy. <\/em>Offering a sensitive and sincere depiction of the world-famous sex icon, the film exposes the brain, heart, and humor behind Pamela Anderson\u2019s very public image. Pamela: A Love Story <\/em>is an intelligent and engrossing examination of fame, abuse in its many forms, and the sexism that is often present when female sexuality is explored and\/or discussed. This is a strikingly moving achievement.<\/p>\n\n\n\n

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

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Russell Crowe in The Pope’s Exorcist<\/figcaption><\/figure>\n\n\n\n

The Pope\u2019s Exorcist<\/strong><\/p>\n\n\n\n

Even star Russell Crowe\u2019s massive talent cannot save this hopelessly mediocre horror effort. Yet another exorcism film, there is absolutely nothing about this particular production that stands out as unique or interesting. Functionally well-made but severely lacking inspiration, The Pope\u2019s Exorcist <\/em>is an overall bland and impotent excuse for a horror film.<\/p>\n\n\n\n

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

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Jacob Elordi and Cailee Spaeny in Priscilla<\/figcaption><\/figure>\n\n\n\n

Priscilla<\/strong><\/p>\n\n\n\n

Writer\/director Sofia Coppola\u2019s film boasts some downright exquisite filmmaking and craftsmanship. It is a tasteful examination of the long-term courtship and eventual marriage between a covertly abusive and slyly manipulative Elvis Presley (Jacob Eldori) and an initially teenaged Priscilla Beaulieu (Cailee Spaeny). Coppola captures the whimsical passion of na\u00efve teenage love beautifully, but she also has trouble grasping the full and complex emotions involved with the eventual and inevitable downfall of the film\u2019s core relationship.<\/p>\n\n\n\n

The film offers mere snippets of Elvis and Priscilla over a passage of time and, as the film progresses, the snippets become more abrupt, more rushed, and less connected. Key dramatic moments are increasingly and trivially glazed over, significantly weakening its overall impact and heavily marring its otherwise exceptional quality. Priscilla <\/em>contains a fascinating beginning to a fascinating story but unfortunately doesn\u2019t seem to care much about properly developing or concluding it.<\/p>\n\n\n\n

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

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Alicia Silverstone and Benicio Del Toro in Reptile<\/figcaption><\/figure>\n\n\n\n

Reptile<\/strong><\/p>\n\n\n\n

This murder mystery\/thriller is an annoyingly uneven and unfocused film that had the potential to be so much better than it is. The sluggish and meandering first half is only partially rectified by a more involving and intense second half. The film never fully gets on track, however, because it never clearly defines most of its many characters or the convoluted story they inhabit. While performances by Benicio Del Toro, Justin Timberlake, Michael Pitt, Alicia Silverstone, and Eric Bogosian are all naturalistically believable, the emotionally dry and overly-intricate screenplay never gives any of them the chance to showcase any real dramatic power. Reptile <\/em>is a missed opportunity of a film that fails to take full advantage of the talent involved in its creation.<\/p>\n\n\n\n

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

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Nicolas Cage in The Retirement Plan<\/figcaption><\/figure>\n\n\n\n

The Retirement Plan<\/strong><\/p>\n\n\n\n

Nicolas Cage stars as a former government worker who is forced to protect his previously unknown granddaughter (Thalia Campbell) from deadly criminals (Ron Perlman and Jackie Earle Haly amongst them). Despite solid work from a strong cast, the movie is forgettable, derivative, and uninteresting. The distracting and obnoxious nature of its forced flashy style resembles a poor man\u2019s Guy Ritchie\u2014who is already a poor man\u2019s Tarantino. The Retirement Plan <\/em>simply needs to be retired.<\/p>\n\n\n\n

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

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Barry Keoghan in Saltburn<\/figcaption><\/figure>\n\n\n\n

Saltburn<\/strong><\/p>\n\n\n\n

Barry Keoghan continues to stand out with another dedicated portrayal of an oddball that only he could accomplish. This time around, his role is that of an Oxford student with highly ambiguous and potentially sinister intentions who latches onto a popular classmate (Jacob Eldori), and then goes on to summer at his upper-class family\u2019s estate.<\/p>\n\n\n\n

Shocking, perverse, and refreshingly unformulaic, the film admirably follows the beat of its own drum, making its twisty narrative difficult to predict. Unfortunately, the revelation of the story\u2019s core point is saved for the very end, making it a sometimes-tedious and sometimes-bewildering experience to make complete sense of or fully enjoy during the first viewing. Saltburn <\/em>is an overall high-quality film with exceptional performances and impressive filmmaking, but it is told in a frustratingly lopsided manner that doesn\u2019t allow the viewer to understand its intentions until it is too late to fully care.<\/p>\n\n\n\n

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

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Scream VI<\/figcaption><\/figure>\n\n\n\n

Scream VI<\/strong><\/p>\n\n\n\n

This sixth entry in the Scream <\/em>slasher franchise is tired, dull, uninspired, and highly (to a distracting degree) implausible. Despite some good performances, solid filmmaking, a few suspenseful moments, and an impressive set piece or two, there\u2019s simply nothing new to the story or screenplay that justifies the film\u2019s existence. Scream VI <\/em>is rarely scary or amusing, and it\u2019s nothing short of depressing to see the hopelessly mediocre and money-grubbing depths to which this once-innovative series has fallen.<\/p>\n\n\n\n

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

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Zachary Levi in Shazam! Fury of the Gods.<\/figcaption><\/figure>\n\n\n\n

Shazam! Fury of the Gods<\/strong><\/p>\n\n\n\n

This sequel to the hit 2019 DCEU entry about a boy (Asher Angel) who can change at will into a fully grown superhero (Zachary Levi) is an overall entertaining though slightly tired and uninspired effort. The sincerity and heart behind the first film are still present in this one, but its conveyance of innocence and its message of family unity are a little more forced and harder to buy now that most of the cast have outgrown the script\u2019s intentions for their roles. Despite some contrivances, uneven pacing, and an unfocused story that is hard to always care enough about to fully follow, Shazam! Fury of the Gods <\/em>still manages to provide solid escapist entertainment with some well-timed humor, impressive action sequences, and a handful of memorably touching moments.<\/p>\n\n\n\n

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

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Gideon Adlon in Sick<\/figcaption><\/figure>\n\n\n\n

Sick<\/strong><\/p>\n\n\n\n

This COVID-19-centered horror\/thriller centers on two carefree college girls (Gideon Adlon and Bethlehem Million) who throw caution into the wind and take a lake house vacation during the height of the pandemic, only to be stalked by a knife-wielding maniac. Sick <\/em>is a relentlessly intense, tightly paced, consistently shocking, aggressively violent, and highly suspenseful film that knows how to grab its audience\u2019s attention and hold it for the entirety of its eighty-minute duration. Though a few of its jump scares and plot points are a tad predictable, it\u2019s easy to forgive the film of its minor faults due to its expert execution and overall consistent high quality.<\/p>\n\n\n\n

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

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Joel Kinnaman in Silent Night<\/figcaption><\/figure>\n\n\n\n

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

Director John Woo\u2019s return to American filmmaking after a near-twenty-year hiatus is a welcome one, but it\u2019s too bad he wasn\u2019t given better and more original material from which to work. While the dialogue-free action film makes sense for its central mute character (Joel Kinnaman), it feels forced, gimmicky, and unnatural for all the other roles. The film contains some inventive and thrilling sequences that result from Woo\u2019s world-renowned gift for handling action, but the unshaded characters and weak script leave a bit too much to be desired.<\/p>\n\n\n\n

The film also can\u2019t quite settle on a tone, as it seems to want to be both a colorfully living comic book and a deeply serious drama about the loss of one\u2019s child. Silent Night <\/em>ultimately takes itself too seriously to provide pure escapist entertainment, and it\u2019s far too ridiculous to be taken seriously.<\/p>\n\n\n\n

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

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Slotherhouse<\/figcaption><\/figure>\n\n\n\n

Slotherhouse<\/strong><\/p>\n\n\n\n

An adorable but lethal sloth (that is quite obviously a low-budget puppet) is plucked from its tropical natural habitat and taken to America. The creature then somehow becomes a sorority house\u2019s mascot and begins a brutal killing spree where it picks off the house members one by one. Slotherhouse <\/em>knows how absolutely ridiculous it is, and it is undeniably and endlessly fun, funny, and campy as a result. The movie is by no means a masterpiece, but it is well worth checking out when you\u2019re in the mood to laugh at some truly absurd depictions of mayhem and horror.<\/p>\n\n\n\n

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

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Spider-Man: Across the Spider-Verse<\/figcaption><\/figure>\n\n\n\n

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

This gorgeously animated and highly inventive incarnation of the Spider-Man universe is undeniably a massive artistic and technical achievement. Its comic book-in-motion design is aesthetically beautiful and endlessly breathtaking, but the overall flow of its narrative is consistently disrupted by obnoxious business and an over-saturation of ideas. As it progresses, the film becomes increasingly exhausting and scattered. Its kinetic execution only seems to serve the purpose of showing off how clever and flamboyant it is trying to be instead of providing excitement and entertainment to its audience. Spider-Man: Across the Spider-Verse<\/em> is a (no pun intended) marvel to look at, but it\u2019s much too often a chore through which to sit.<\/p>\n\n\n\n

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

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Connor Esterson in Spy Kids: Armageddon<\/figcaption><\/figure>\n\n\n\n

Spy Kids: Armageddon<\/strong><\/p>\n\n\n\n

Cinematographer\/editor\/co-writer\/director Robert Rodriguez reboots his charming, inventive, and family-friendly action\/adventure series with this latest Spy Kids <\/em>entry. Rodriguez\u2019s family movies have a tendency to be a bit obnoxious in their cutesiness at times, but their faults can often be overlooked due to their imaginative ideas and storylines and their energized, adept, and beautifully stylish executions.  Spy Kids: Armageddon <\/em>is no exception to this, as it contains a few moments that might make you want to roll your eyes, but it overall manages to be an impressive, exciting, and entertaining experience.<\/p>\n\n\n\n

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

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Nicolas Cage in Sympathy for the Devil<\/figcaption><\/figure>\n\n\n\n

Sympathy for the Devil<\/strong><\/p>\n\n\n\n

Joel Kinneman stars as an expecting father who is forced at gunpoint to drive a mysterious, dangerous, and amusingly exuberant passenger played by Nicolas Cage to an initially unknown destination for an initially unknown reason. Though Sympathy for the Devil<\/em> occasionally struggles to keep up its momentum (even with its brief ninety-minute runtime), the film is an overall taut and intense thriller that will keep its audience engrossed for the majority of its duration. Kinneman is solid, sympathetic, and grounded in the lead role, providing a necessary contrast to one of the nuttiest and most unhinged performances of Cage\u2019s endlessly brazen career.<\/p>\n\n\n\n

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

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Talk to Me<\/figcaption><\/figure>\n\n\n\n

Talk to Me<\/strong><\/p>\n\n\n\n

A group of Australian teenagers learns to communicate with the dead by way of a disembodied hand, only to meet with dire and terrifying consequences. The pacing is air-tight, the acting is solid, the filmmaking is impressively refined, and the overall tone consistently induces horror and suspense in its audience. The mostly solid screenplay does lose some steam in its last act, but Talk to Me <\/em>still manages to prevail, overall, as a smart, scary, and highly potent horror effort.<\/p>\n\n\n\n

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

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Thanksgiving<\/figcaption><\/figure>\n\n\n\n

Thanksgiving<\/strong><\/p>\n\n\n\n

Co-writer\/director Eli Roth finally realizes a feature-length version of his mock Grindhouse <\/em>trailer with this highly amusing holiday horror effort. The story is gleefully demented, the scares are fun, the suspense is gripping, and the gross-out moments are effectively and hilariously shocking. Thanksgiving <\/em>may not be the most original, surprising, or terrifying horror movie ever made, but it still delivers enough gore and good old-fashioned scares to appease just about any horror addict\u2019s insatiable craving.<\/p>\n\n\n\n

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

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Teyonah Paris, Jamie Foxx, and John Boyega in They Cloned Tyrone<\/figcaption><\/figure>\n\n\n\n

They Cloned Tyrone<\/strong><\/p>\n\n\n\n

After a murdered drug dealer (John Boyega) is mysteriously cloned, the door is opened to a complex conspiracy that targets African Americans. This satirical, mind-bending, and occasionally nightmarish sci-fi\/comedy is loaded with great and amusingly bizarre ideas. It is executed in a notably realistic fashion, making its stranger and more outlandish aspects feel all the more tangible and probable. The only downfall to this approach is that the film isn\u2019t quite as fun as its premise suggests it could be. It consistently misses opportunities for humor and doesn\u2019t always explore the full entertainment value of its inventive concepts.<\/p>\n\n\n\n

They Cloned Tyrone <\/em>is a fascinating, intelligently absurd, and finely made movie that sometimes misses its full potential by relying on a presentation that is a tad too restrained and dry.<\/p>\n\n\n\n

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

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Totally Killer<\/figcaption><\/figure>\n\n\n\n

Totally Killer<\/strong><\/p>\n\n\n\n

A teenage girl (Kiernan Shipka) travels back in time to the \u201880s where she is forced to stop the serial killer who has haunted her mother (Julie Bowen) since her teenage years. Yet another horror comedy set in the \u201880s, the film is neither scary nor clever enough to compete with many other retro-oriented titles that have similar styles and designs. It fails to take full advantage of or have complete fun with its time period or concept, and the results are painfully lackluster as a result.<\/p>\n\n\n\n

Shipka and her co-stars do their best with the material they are given, but Totally Killer <\/em>still can\u2019t help but totally be a waste of time.<\/p>\n\n\n\n

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

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Finn Wolfhard and Julianne Moore In When You Finish Saving the World<\/figcaption><\/figure>\n\n\n\n

When You Finish Saving the World<\/strong><\/p>\n\n\n\n

This character-based dramedy centers on a teenage internet musician (Finn Wolfhard) and his desire to be politically interested so he can impress a such-minded classmate (Alisha Boe). While struggling with his identity, he also struggles with his well-meaning but somewhat lost mother (Julianne Moore).<\/p>\n\n\n\n

Though it\u2019s not exactly dramatically robust and the pacing is sometimes glacial, the film is an overall warm-hearted, affably quirky, and insightful film with a familiar but important message about staying true to oneself. When You Finish Saving the World <\/em>doesn\u2019t break any new ground, but it\u2019s still a nice, pleasant, and overall life-affirming way to spend ninety minutes.<\/p>\n\n\n\n

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

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Eddie Murphy and Jonah Hill in You People<\/figcaption><\/figure>\n\n\n\n

You People<\/strong><\/p>\n\n\n\n

Jonah Hill stars as a Jewish podcaster who falls in love with a Black woman (Lauren London)\u2014much to the chagrin of her family and the discomfort of his. This feel-good comedy has its heart in the right place and delivers some thoughtful and thought-provoking insight into modern interracial romance. That being said, the film is often formulaic and predictable, and its jokes sometimes fall flat. The pacing is also uneven, no doubt the result of its overly long near-two-hour runtime.<\/p>\n\n\n\n

You People<\/em>\u2019s good intentions and the overall exceptional talent of its cast (which includes Eddie Murphy, Nia Long, David Duchovny, and Julia Louis-Dreyfuss) manage to make the film rise above many of its shortcomings, however, and be an overall rewarding effort.<\/p>\n\n\n\n

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

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The Zone of Interest<\/figcaption><\/figure>\n\n\n\n

The Zone of Interest<\/strong><\/p>\n\n\n\n

In this film, we see the basic, ordinary, and everyday lives of an Auschwitz commandant (Christian Friedel) and his family as they lead a peaceful existence right outside the walls of the camp. Did I enjoy this glacially paced film that showcases little dramatic urgency? Not really. Do I appreciate its impeccable and precise craftsmanship, respect its intentionally detached style, and find myself deeply affected by its examination of evil in its most apathetic and mundane form? Absolutely.<\/p>\n\n\n\n

The film isn\u2019t exactly exciting, but it will stir emotions and provoke thought in a completely profound and unique manner that will leave you speechless. The Zone of Interest <\/em>is ultimately a highly valuable experience, but it\u2019s one you most likely won\u2019t ever want to repeat.<\/p>\n\n\n\n

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

65 An astronaut (Adam Driver) and a teenage girl (Ariana Greenblatt) are the only survivors of a crash landing on a planet filled with dangerous prehistoric creatures. The film is consistently exciting and engaging, and is filled with a number of great jump scares, moments of tension, and impressive visual effects. Though logic is a […]<\/p>\n","protected":false},"author":2,"featured_media":4026,"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-4023","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\/4023","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=4023"}],"version-history":[{"count":64,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/4023\/revisions"}],"predecessor-version":[{"id":4500,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/4023\/revisions\/4500"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media\/4026"}],"wp:attachment":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media?parent=4023"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/categories?post=4023"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/tags?post=4023"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}