At long last, director Paul Thomas Anderson and Leonardo DiCaprio collaborate for ‘One Battle After Another’, an offbeat, thrilling, and often hilarious adventure that earns its keep in the talented director’s already stunning filmography.
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Romance stories are a dime a dozen, but Kogonada’s ‘A Big Bold Beautiful Journey’ dares to be different. However, despite the star power of its two considerably talented stars, this unconventional love story fails to leave a mark.
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For Channing Tatum fans, this is definitely not a film to miss – as always, he is a standout as his natural charisma brings a lot of life to ‘Roofman’ and makes the film more than worthwhile. Other audience members may not be convinced.
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The sardonic comedy ‘Bad Apples’ plants itself in utter absurdity, and yet, it may be an effective public service announcement for education reform.
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‘Poetic License’ is sweetheart, laugh-out-loud comedy, well-acted by the entire cast. Taking place on a university campus at the beginning of the Fall semester, is a perfect movie to watch on a cozy autumn day – fresh and unexpectedly great, this isn’t one to miss.
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After catapulting Brendan Fraser to his first Academy Award, Director Darren Aronofsky has his sights set on further showcasing Austin Butler’s versatility in ’Caught Stealing’, a wonderfully grungy tale of crime and chaos in 90’s NYC.
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Thanks to an assured sense of style and magnifying performances from its core cast, Michael Angelo Covino’s ‘Splitsville’ manages to stay afloat, despite a cyclical structure that makes some of its funnier beats less impactful.
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Thanks to a captivating performance by Margaret Qualley and an assured sense of style and hyper-violence, Ethan Coen manages to make ‘Honey Don’t!’ a memorable affair, even if it continuously stumbles along the way.
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Bob Odenkirk is back with his unique brand of justice in ‘Nobody 2’, an action sequel that doubles down on what made the original such a refreshing entry into the action genre and delivers a follow-up that may just be even more enjoyable than its predecessor.
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‘Freakier Friday’ is Disney’s best theatrical live-action release in ages, thanks in no small parts to the ineffable charm of both Lindsay Lohan and Jamie Lee Curtis.
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Director Akiva Schaffer uses his comedic sensibilities to revive the police squad for 80 minutes of non-stop laughs in ‘The Naked Gun’.
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FilmSpeak begins the Fantasia Festival looking at Ari Aster’s attempts to make sense out of a year (and decade) that doesn’t make sense with his latest dark comedy, ‘Eddington’.
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‘Sorry, Baby’ is just an assured debut in every sense. It is very methodic and well-plotted in its cathartic ambitions, and equally deft, light, and profound. Director Eva Victor is a rising talent, and it already excites to think about what her cinematic instincts will provide us with next.
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The sassy, murderous robot has returned to the big screen in ‘M3gan 2.0’, a sequel that takes the franchise in a brand new direction, but fails to capitalize on the potential that new territory brings with it.
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While Bryan Cranston and Allison Janney give somewhat impassioned performances, Jon S. Baird can’t follow up the same momentum he built with ‘Tetris’ in his latest motion picture, ‘Everything’s Going to Be Great’.
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With a trio of impeccable actors in Howard, Muhammad and Bloom, director Tom Kingsley gives life to what looked like an otherwise dull piece of content in ‘Deep Cover’.
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Wes Anderson culminates his cycle of self-reflexion with ‘The Phoenician Scheme’, a film that throws all of his formal sensibilities out the window, as he looks to break what made him such a revered filmmaker for the past thirty years.
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While ‘Jane Austen Wrecked My Life’ boasts solid performances, the array of subjects and themes it explores is far too underdeveloped to make a good movie.
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Bolstered by Tim Robinson's amazing talent, Andrew DeYoung’s ‘Friendship’ is designed to make audiences as uncomfortable as possible during sequences of massive embarrassment that are as aesthetically thrilling as they are painfully hilarious.
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Thanks to the effervescent chemistry from Anna Kendrick and Blake Lively, alongside a story that knows it shouldn’t take itself too seriously, Paul Feig makes his first good movie since ‘A Simple Favor’ with the sequel ‘Another Simple Favor’.
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