Moritz Mohr’s ‘Boy Kills World,’ starring Bill Skarsgard, is a hilarious, hyper violent, genre-bending romp supported by excellent cast and top-notch voiceover.
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Print Reviews
An assembly of moments and ideas in search of a more stable narrative to bring them into focus, ‘Hanky Panky’ is a sketch collection posing as a movie.
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Alex Garland’s “Civil War” is an immersive dystopian think piece.
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A haunted-house creature feature with creep-tastic bona fides, ‘Sting’ is a masterclass in tight, smart, and efficient filmmaking.
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The search for the biggest problemista begins with a baker’s dozen.
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A wannabe talkshow hosts makes a bargain for more than just good ratings on Halloween night.
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An ugly, joyless, uninspired, lazy legacy rehash, this new ‘Road House’ is a letdown from the first punch to the last.
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[Rating: Solid Rock Fist Up] In Theaters Friday, March 1 Kind of like a rock concert that blasts the enamel off your teeth despite an overzealous and extended version of “Moby Dick” halfway through, Dune: Part 2 is the full, blissful, challenging, comprehensive, and exhaustive artistic experience. A mesmerizing visual feast brimming with the absolute […]
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[Rating: Minor Rock Fist Down] In Theaters and on VOD Friday, February 9 A patchy collection of road trip horror stories buttressed by a vaguely coherent emotional thru-line, Willie and Me feels less like a fully realized movie and more like a hazy first draft. Devoid of any humor, character growth, or relatable conflict, the […]
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Matthew Vaughn shoots for the moon in ‘Argylle,’ one of the oddest, dumbest, absurdly entertaining yet predictable movies of the year—so far, I guess.
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A competent and technically proficient “who can you trust?” thriller, “I.S.S.” is a conflict movie in search of character.
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Frankenstein’s Monster takes a holiday to discover herself.
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‘American Fiction’ is a refutation of any kind of performative art that claims to serve something or someone without listening to them.
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‘Ferrari’ is a mixed bag of uneven performances arranged by a casting department without an atlas and a script without a compass.
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Cooper throws the whole bag of awards season tricks at the wall in ‘Maestro,’ sacrificing visual and thematic cohesion to the artistic shotgun approach.
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