At once a send-up of Hollywood as well as a heartfelt exploration of success and legacy, ‘The Unbearable Weight of Massive Talent’ is poignant and fun.
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Warren Cantrell
‘The Northman’ might be a little too bloody or juicy for some, but that’s only because Eggers has left so much for audiences to sink their teeth into.
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‘Ambulance’ is fun enough at times to justify its existence, yet remains tonally inconsistent with a dash of thematic schizophrenia.
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Full of laughs from beginning to end and supported by a top-notch cast, one could do worse than spending a few hours getting lost with Channing and Sandy.
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Blessed with a simple conceit (stuck on a haunted island with no way off), ‘Offseason’ never comes close to bringing all its disparate elements together.
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‘The Batman’ is a mixed bag, and too often forgets what makes its eponymous superhero so interesting in the first place.
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‘The Burning Sea’ matches the scope and vibe of its Norwegian disaster film predecessors while not quite clearing the same bar on quality.
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‘Big Gold Brick’ suffers from an unsympathetic, emotionally frantic lead and about six-too-many subplots within a broader story that can’t manage them.
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Oscar nominations included interesting contenders and more than a few head-scratchers even the most seasoned minds at Scene-Stealers can’t quite explain.
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‘Jackass Forever’ somehow remains timely, side-splittingly funny, and absolutely, 100% essential.
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Narratively rich and stocked with complex characters played by actors at the top of their games, ‘Parallel Mothers’ is as fascinating as it is moving.
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‘Dawn Raid’ offers up a slick, interesting, and engaging floor-model documentary that does all the expected things, yet does them exceptionally well.
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Plagued with a main character problem and some clunky exposition, the sum of the parts for ‘See For Me’ amounts to a surprisingly good time.
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‘Spider-Man: No Way Home’ offers a satisfying endcap to not just Holland’s trilogy, but for the Spider-Man character writ large.
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‘Don’t Look Up’ hits too close to the COVID mark, inviting its audience to live in a fictional hell only slightly worse than their reality.
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