‘A Quiet Place Part II’ is a smart, taut, character-driven, and thematically integrated film that accomplishes everything it sets out to do.
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Warren Cantrell
A neo-gothic mix of Mean Girls and Dead Poets Society with a Candyman base, ‘Séance’ has one twist too many, but succeeds on its genre bona fides.
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Bridesmaids for arm-wrestling, ‘Golden Arm’ proves that boys aren’t the only ones who can carry a film with stupid macho humor and improv craziness.
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‘Without Remorse’ moves well and has stakes, but ultimately suffers from a Jack Ryan deficiency.
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A gore-happy love letter to a notoriously violent video game, ‘Mortal Kombat’ is the film that fans of the franchise have been waiting for.
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‘Wildcat’ is little more than torture porn with all the foreplay and none of the payoff.
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‘Godzilla vs. Kong’ isn’t so much good, but rather good enough, sacrificing character work and dialogue for kick-ass action set pieces.
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Even with reshoots, an extra 2 hours, and a mulligan budget rumored to be in the $80 million dollar range, this film is undeniably, irredeemably awful.
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![Post image for ‘Paul Dood’s Deadly Lunch Break’ is Delicious & Filling [SXSW 2021]](http://www.scene-stealers.com/wp-content/uploads//2021/03/dood2.jpg)
A gory revenge flick with heart, this small, manic comedy sports laughs, gasps, and sentimental hand clasps in equal measure.
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Although ‘Coming 2 America’ has its heart is in the right place, the sum total is little more than a PG-13 rehash of older, better material.
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Far from perfect, ‘Keep an Eye Out’ gets as close to a complete, fulfilling cinematic experience as one might ever hope for from Quentin Dupieux.
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‘French Exit’ is less of a film and more of a collage of character quirks mashed together into something resembling a coherent narrative.
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‘The Father’ is superb, and gives a voice and a face to an affliction that is too often limited to those suffering on the periphery of it.
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‘Nomadland’ is a stunning character study incorporating meditations on aging, legacy, industrialization, and the vanishing American middle class.
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This distasteful witch trial horror offering from Neil Marshall has a heavy-handed tone, clunky dialogue, and a refusal to concede to the realities of basic human physiology.
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