Review by Reid Ramsey
Upon reflection, what first appeared to be a self-congratulatory commentary on art reveals itself to simply be a five dollar gore-fest; and the movie is all the better for this reason.
Read MoreReview by Reid Ramsey
Upon reflection, what first appeared to be a self-congratulatory commentary on art reveals itself to simply be a five dollar gore-fest; and the movie is all the better for this reason.
Read MoreReview by Nadine Smith
M. Night Shyamalan has given us many twists over the past two decades. But there’s another twist waiting in the wings. M. Night Shyamalan got your attention and your dollars with Split, and instead of fulfilling your expectations or building a new cinematic universe, he’s used it to make one of the strangest studio movies of the last decade, a superhero movie that is everything superhero movies aren’t supposed to be.
Read MoreReview by Logan Kenny
This movie should have been something more, something uplifting and beautiful, but it is not, and all we can do is speak out about its problems together, to not stay silent.
Read MoreReview by Courtney Anderson
Everything about If Beale Street Could Talk shows that Barry Jenkins’ ultimate goal is to show how much he loves these characters and the Black people who inspired them. And he picked the perfect story to show that love.
Read MoreReview by Rilwan Balogun
At the close of this movie, you don’t leave warm and fuzzy because they got him out of jail. But you sit with feeling uncomfortable and sad. This is the point.
Read MoreReview by Logan Kenny
Is The House That Jack Built the cinematic form of the manipulation that follows abuse? A work with the pretense of self-examination that is actually just another reminder of the pain that many women have went through? Or is it a genuine apology, a work of intense self loathing, an abuser longing with existential suffering and a desire for death because he can’t achieve the catharsis in this life anymore?
Read MoreReview by Zach Dennis
Spider-Man: Into the Spider-Verse shows not only the endless visual prospects of the comic-book genre, but also the natural inclusion of diversity and representation that felt less like a business plot and more of a reminder that the hero’s identity is fluid because anyone can be behind the mask.
Read MoreReview by Andrew Swafford
Knight seems to be bringing Laika’s humanistic sensibility to a franchise heretofore so concerned with militaristic hardware and mechanics.
Read MoreReview by Courtney Anderson
To me, watching Widows felt like I was watching the outline of a potentially fantastic script.
Read MoreReview by Michael O’Malley
For Disney, self-critique is only useful for the extent to which it makes Disney look good. And a sequel is only as good as the value it adds to the company stock.
Read MoreReview by Zach Dennis
Creed was so aspiring not only because of the impeccable directing by Ryan Coogler (who returns to this movie in a producing role only) but by Coogler’s incredible focus on the nuances of modern masculinity. The frustrating part of this second Creed is that it picks up this beat again, but lacks the subversion that its predecessor possessed.
Read MoreReview by Courtney Anderson
Green Book uses vital pieces of Black history as plot devices to tell the story of a loud-mouthed racist who learns to be less racist because of that time he became friends with a cool Black guy.
Read MoreReview by Lydia Creech
The Coens are obviously fascinated with the genre, and they’ve gotten the chance to do feature-length treatments several times in the past. Here in the short format, they get a chance to really flex their storytelling skills to quickly get the audience invested and then wrongfoot them.
Read MoreReview by Reid Ramsey
“Caustic wit. That’s my religion,” sighs Lee Israel (Melissa McCarthy) during an early conversation in the new movie Can You Ever Forgive Me?. This one line sums up, perhaps too simplistically, the overall attitude of the movie.
Read MoreReview from Festival du Nouveau Cinéma at Montreal by Clément Hosseart
Season one lured some of his viewers with a pastiche of procedurals, where the detective and his partner are your average local cops. Like Broadchurch, but with less of a Scottish accent, and with more cows. Season two mixes things up with some of the most literally down to earth science-fiction you will find.
Read MoreReview by Clément Hossaert
Built on the foundations of the book written by Shirley Jackson, this new edifice gives each of its characters a wing, a corridor and a past to live on, and a burden of trauma to deal with.
Read MoreReview by Lydia Creech
I’m sure Mandy will find its niche and hit the cult status it’s aiming for (it’s well on its way), but I’m fine with being left behind.
Read MoreReview / Personal Essay by Courtney Anderson
I’m always waiting for the movie where there’s a fat girl that actually does have a love interest, or at least isn’t spending the entire movie commiserating her weight. Which is what I thought Sierra Burgess Is A Loser would be. And it wasn’t. At all.
Read MoreReview by Jordan Collier
Something this mercurial and wonderful begs to be seen rather than described. It defies traditional categorization. It is an experience packed with so much color, heart, originality, and unbridled positivity that it makes impossible to stop smiling. Night is Short is a whirlwind of epic proportions, and it is one worth getting swept up in.
Read MoreReview by Nadine Smith
Support the Girls spoke truth to me personally as a child of strip malls and subdivisions, but it speaks to a much larger truth in its depiction of how the working class exists today.
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