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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‘My Big Fat Greek Wedding 3’ could’ve been an enjoyable sequel, but it instead re-treads to distasteful and lethargic humor, essentially putting the nails in the coffin for the future of the franchise.
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‘Dumb Money’, as an adaptation, feels both timely, and too soon. Nonetheless, the film’s message is evergreen, and its ensemble is more than enough to carry a well-enough put together film to being a good time.
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Despite a committed performance from Taylor Zakhar Perez, the Hallmark-lite aesthetic of Red, White & Royal Blue ruins anything it tries to establish.
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‘The Last Voyage of the Demeter’ is a lean, studio-stunted yet passionate horror film that boasts a strong lead performance and vintage setting. It may not be the greatest monster-thriller in recent memory, but absolutely deserves the attention of horror junkies.
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Ben Kingsley gives an incredible performance in Marc Turtletaub’s ‘Jules’, but can’t prevent the movie from falling short of its overall ambitions.
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A priest, a psychic, and an astrophysicist walk into a haunted house. While you might think that’s a setup for some cheesy joke, it’s a partial plot description for Disney’s latest film adaptation of its iconic theme park attraction, ‘The Haunted Mansion’.
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Vin Diesel and his eclectic crew are back for yet another instalment in the beloved ‘Fast and Furious’ franchise in ‘Fast X’ - delivering more of the high octane stunts and emotional stakes fans have come to know and expect.
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Emma Mackey galvanizes the screen through a career-best performance in Frances O’Connor’s wildly unique biopic ‘Emily’ - a look at the life of Emily Brontë.
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Luca Guadagnino delivers another tour-de-force film in Bones and All, featuring career-best performances from Taylor Russell and Timothée Chalamet, and should be considered one of the most masterful pictures of the year.
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Alejandro G. Iñárritu’s BARDO, False Chronicle of a Handful of Truths is an excessively self-indulgent piece of claptrap that overcomplicates a simple premise that becomes minimally thoughtful in the process. Here’s our review of a surprisingly awful film..
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