Shane Black has fun in the cartoonishly glorious adaptation of Donald E. Westlake’s work with ‘Play Dirty’, containing Mark Wahlberg’s best performance in years as he dons the mantra of Westlake’s most iconic character.
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Ultimately, despite a strong premise, ‘Him’ ends up throwing a Hail Mary, which, if not fumbled, undoubtedly could have been more interesting than the end result.
Read More![‘Hedda’ Review: Simply Nia DaCosta’s Best Film [TIFF 25]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/168045be-ee2f-4654-8445-82cecf97c48a/Hedda+3.jpg)
Thanks to its assured sense of style and magnifying performances from Tessa Thompson and Nina Hoss, director Nia DaCosta crafts her best-ever film with a modern adaptation of Henrik Ibsen’s Hedda Gabler and takes ‘Hedda’ in more daring directions than its original author ever envisioned.
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While Oliver Hermanus stuns with its patient visual language and soul-shocking musical sequences, ‘The History of Sound’s structure — and a miscast Paul Mescal — leaves a lot to be desired by the time the movie reaches its admittedly devastating epilogue.
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Óliver Laxe crafts an unrelentingly cruel picture with the explosive ‘Sirāt’, questioning human morality at the center of his scorching, pulse-pounding thriller.
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When ‘Superman’ was first announced, and since subsequently teased and advertised, a lot of folks wondered what writer/director James Gunn was going to do to break the genre’s ongoing funk.
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Josh Hartnett fueled widespread conversation last year with his performance in the M. Night Shyamalan thriller ‘Trap’. So, following a polarizing performance such as that one, what is an actor to do next? Star in the B-movie action thriller ‘Fight or Flight’ and dye your hair blonde.
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All we have to say about ‘Clown in a Cornfield’ is keep the clowns away. They’re always going to be scary - whether they haunt or nightmares or they’re simply a poor suggestion on your playlist.
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While Amalia Ulman’s dexterity and strong cast practically save ‘Magic Farm’ from being a total disaster, the movie still leaves some areas to be desired.
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While the surface level of ‘The Shrouds’ may appear complex, the film’s constant wrestling with the director’s own mortality ensures it will be remembered as one of David Cronenberg’s most engrossing efforts.
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Jeff Fowler, director and chief creative behind all three Sonic films thus far (as well as the ‘Knuckles’ show) got his start within the franchise early on, and it continues to pay off in ‘Sonic 3’.
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‘Nosferatu’ may truly be Robert Eggers’ best film yet. He fired on all cylinders here and delivered a spirited modern rendition of a classic story that belongs in the same hallowed halls as the 1922 original from which it was wrought.
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Unless you’re just a full-on superfan of the lazy tabby himself, ‘The Garfield Movie’ is unlikely to work for anyone over the age of four. It’s weirdly slow, terribly mundane, and uninteresting the entire way through.
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George Miller doesn’t quite return with a vengeance in ‘Furiosa: A Mad Max Saga’ - rather, he brings a seasoned sense of detail and management. The Mad Max franchise has become well known for an exasperated brand of freneticism and unbridled energy rarely captured in blockbuster action cinema as it stands today, and ‘Furiosa’ remains consistent within that.
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While the director has been responsible for some of the slickest action films of note, Guy Ritchie’s ‘The Ministry of Ungentlemanly Warfare’ is tragically and painfully average, and all things considered, doesn’t present much to warrant anything after an obligatory first watch.
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‘The First Omen’ is a traditional prequel in the way that it unfortunately fails to justify its own existence, falling into the busy chasm of efforts long lost, doomed to the same fate.
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Don’t go in expecting to be blown away, and ‘Damsel ‘ should do just fine. Just make sure you’ve got your plot-armor, and possibly a few glow worms for safe measure, too.
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Perhaps just when we needed a film like this, enter Netflix’s Spaceman - a deceivingly simple drama that does more than drink and dribble. Questions of love, time and space, and redemption float aimlessly among the cinematic stars, away from a grounded Adam Sandler who may have just delivered his best performance yet.
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Despite striking images from cinematographer Matthew Libatique, director Bradley Cooper fails to peer through the public façade of Leonard Bernstein in the ridiculously formless and inert ‘Maestro’.
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Make no mistake. ‘A Haunting in Venice’ may not be perfect, but it’s still a scary good time. While it’s hard to say if it’s the best in the franchise, it is undeniably just as good as the first two entries.
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