‘Avengers: Endgame’ is an affirmation of Marvel Studios’ storytelling strategy of connecting its films in a shared universe, but maybe more significantly, it’s proof that the franchise’s consistent release schedule gives the viewer better short-term recall and deeper emotional investment.
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Hype is a strange thing. It can create anticipation or it can just as easily wear you down. In this case, I found myself adjusting expectations on an almost scene-by-scene basis.
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The sixth entry to ‘The Conjuring’ series drowns itself in a pool of its own cliches.
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An endearing twist on the story of waking up in a different body … a younger one.
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Garth Davis’ ‘Mary Magdalene’ is historically accurate and respectful, but great performances by Joaquin Phoenix and Tahar Rahim can’t save it from being boring.
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Indie psychothriller ‘Long Lost’ is a twisty, weird ride.
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‘Storm Boy’ is a powerful family film about the love and bond between a boy and a pelican.
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Emilio Estevez’s new movie ‘The Public’ offers great cast, but manufactured feels due to a lackluster script.
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A light-hearted sports documentary that recalls Major League Baseball’s investigation into the scandal of Biogenesis clinic’s illegal substance abuse in 2013.
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Read the review if you wanna know what’s in it. Shazam!
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In ‘The Wind’, one woman’s fear of isolation and the dark on the undeveloped plains leads to sinister happenings around her cabin.
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‘Division 19’ is The Hunger Games meets The Truman Show, with just a hint of V for Vendetta, yet bad. Really, really bad.
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Hilary Duff and Daniel Farrands disrespect the dead in ‘The Haunting of Sharon Tate.’
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Olivia Wilde frees the abused in a strong debut by Sarah Dagger-Nickson.
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There’s long been a case for the idea that great art can be found in the margins, and ‘Detour’ is a perfect example of this.
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