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.
We will remember damage, to mangle a repeated line from the show. It’s cathartic to imagine what we will do with it.
It’s the glorious little moments that bring me the greatest delight, so, I give you a list of my favorite TV moments of 2021.
It’s a movie from a filmmaker who’s sat with herself for much longer, sorted some things out, and is working in a culture that’s just beginning to catch up to her.
Miranda gets across a deep, earnest appreciation of Larson, Garfield plunges into the melodrama, and the film becomes a fitting homage to a man whose work is both important and worthy of critique.
“I don’t have a very good answer for you.” Uncertainty is the core of The…
No, the myth that superhero movies have to choose between being bombastic, money-making productions or contemplative allegories is just that, a myth, and Zhao had the potential to bring the false dichotomy crashing down. Unfortunately, the picture she’s made may just reinforce it.
It’s full of hope for everything [Hansen-Løve] loves and goodwill for what she lets slip away.
Even with this less than glorious landing, the sheer swing of such an off-kilter structure that still lavishes in all the expensive trappings of castles, gowns, and armaments is such a novelty that it’s hard to resist admiring it.
This is how you put people to sleep, if you’re lucky enough not to piss them off.
Their Tammy Faye is a caricature masquerading as a real person. The assertion that they find out who she really is, or even present a twisted, subjective version, is nothing but a beautiful lie.
These mild ups and downs leave us with a lackluster entry in a franchise saddled with ambitious but thorny ideas. It’s far from a disaster, but the taste it leaves in your mouth isn’t sickening so much as it is bitter. Horror with these sorts of themes shouldn’t leave you feeling good, but the discomfort should come from it rattling uncomfortable truths, not mishandling them.
Smaller in scale than recent outings and less afraid of its characters’ emotions, it introduces the wayward but destined for greatness Shang-Chi with plenty of the tricks the MCU used to create its box office supremacy while finally pushing the series in a mildly different direction.
The show itself is decidedly not about glory, instead twisting itself into a pitch black comedic nightmare where every garish color and perfected pose covers a wellspring of pain and anger.
Jungle Cruise is not the artistically devoid offering you may have feared, but it’s not stretching itself to be anything too great, either. Instead, it settles for being a lark, and its winning cast nails the frivolous good time it aims to be.
Betty is a disrupter. A disrupter of expectations, of stereotypes, of procedure. It says forget six seasons and a movie, we’re going to make a movie and then some television. It says forget your straight, white, male world, we’re going to follow a bunch of young women, some queer and not all white. It says forget plot, just vibe.
That Black Widow doesn’t find the right way to tell one of [the MCU’s] most serious stories to date is frustrating, especially considering it comes off as a mere tepid misfire.
In stripping away (or not building upon) the character beats and the hanging existential dread, they produced a lean, mean little thriller, one that satisfies in the moment but ultimately builds to nothing.
Emily Wheeler Movie Ops 