It doesn’t say much about America, but it says plenty about war.
It rightly points out that religious fervor can be terrifying, and it forces you to sit in that fear for its entire runtime.
Glass always has a sucker punch lying in wait, one that will make you swallow your tongue for thinking anything about this tale as old as time is fun.
The fun of Syfy Original Movies are their Mad Max-style plows into derangement, and Chupacabra vs. the Alamo doesn’t plow nearly far enough.
Madame Web is just bad. Tantalizing close to fun-bad, but just barely straightforward enough to miss the mark.
Mean Girls never falls. The story’s core intelligence and humor are retained, even as its twists do more to throw it off balance than steady it.
The Iron Claw makes a clear-eyed observation about the Von Erich story, and perhaps fittingly, it’s only partially felt.
The Marvels was seemingly designed to coast, bringing nothing that we haven’t seen before.
A minor step forward at a moment when major steps could be taken.
What this does is allow her to make a film unlike any other, to key in on emotional beats and experiences others dare not slow down enough to observe.
Boston Strangler is precisely the kind of media Kilgariff described as cold, one whose immense effort goes toward the tired staples of period recreation and carefully laid out plot beats instead of contending with reality.
A satisfying endpoint must be conjured without losing the absurdity of the hook, a balance Cocaine Bear strikes uneasily.
Ant-Man is being asked to kick off Phase 5 of the wayward universe, a challenge he rises to meet.
Baumbach has made a deeply strange film, and he managed to make it big, loud, and potently concerned with the things that keep us up at night. And he made it hilarious. God bless him.
It’s guaranteed to be one the stranger movies you could sidle into at your local AMC, and it’s worth taking a bite out of.
All the attempts to say anything about abuse gets filtered through the story’s unreal elements, and they reflect back only the most basic ideas on the topic before completely losing the thread.
It’s still an overstuffed show, but in building up the relationships audiences truly care about, season 3’s existential musings become time well spent.
True crime is not something to be toyed with, and The Staircase, for all the beautiful work put into it, toys with viewers instead of finding the salient truths about the case.
A bitter disappointment because, while it brings the dinosaurs, it fails to tell a solid story.
This is ruthlessly proficient entertainment filmmaking, and any human plunked into a theater will be powerless against it.
Wanders from MCU standards without completely losing the trail, and every strange cranny it finds proves enlivening.
Deep Water gets bogged down by familiar and pedantic elements of an erotic thriller that feels 65 years old.
A perfectly fine little film with engaging characters, parent-appealing cultural throwbacks, and the familiar message to embracing yourself.
Emily Wheeler Movie Ops 