Featuring an all star cast, and one of the biggest names in comedy, Judd Apatow’s new comedy The Bubble attempts to poke fun at the heartless state of Hollywood blockbusters yet tragically falls victim to the very tropes he’s mocking.
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There are few films of the modern era that feel as authentically retro as Ti West’s latest horror flick X. Whether that’s the distinct visuals, crisp sound design, overly enthusiastic performances, or the waves of blood and guts, almost every aspect of X feels as though it’s been pulled directly from the 1970s.
Read More!['The Lost City' Review: A Goofy Adventure-Comedy That Falls Just Above Mediocrity [SXSW 2022]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1647404512967-OVGOMHAQW8TX3ZPVIOE0/lost-city-review-sxsw.jpg)
The Lost City has blockbuster comedy written all over it; a simple to follow adventure story, the stars are all names that will draw a crowd, and the setting is scenic and pleasing to the eye. On paper, it should work. In practice, it feels soulless and robotic.
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Ben Affleck plays Vic, a man enjoying early retirement as he enjoys his artistic endeavours, attending never ending parties and his beautiful wife, Melinda, played by Ana de Armas. Audiences quickly discover Vic and Melinda do not have the perfect marriage, only perhaps, perfect for one another. The bigger issue being, this film was far from perfect, and far from deep.
Read More!['Spin Me Round' Review: A Great Cast In A Lukewarm Quirk-Fest [SXSW 2022]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1648051529964-S6CXA604T1GTPYDSFQ6Y/aubreyANDAlison.jpg)
One of the bigger draws at this years’ SXSW, Spin Me Round features Alison Brie leading an all-star comedic cast in a part mystery, part rom-com,, part Italian misadventure. However, by the time the aptly titled Spin me Round stops spinning, audiences aren’t quite sure what movie they just watched.
Read More!['The Unbearable Weight Of Massive Talent' Review: Nicolas Cage Unlocks The ‘Cage’ In This Self-Aware Comedy [SXSW 2022]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1647464762551-DNO32JO7PP5KLSA0ZFVA/CAGE3.jpg)
In The Unbearable Weight Of Massive Talent, a film that could only star the mythical-acting-unicorn that is Nicolas Cage, we are treated to a buddy comedy that serves as an incredible homage to the forty years of excellence that is the career of Nic Cage. Continue for our full, Non-Spoiler review.
Read More!['I Love My Dad' Review: A Twisted But Strangely Endearing Indie Comedy [SXSW 2022]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1648055112807-PWKOIQZY3EXDT233I7TZ/Slide2.JPG)
You could not ask for a better fit than writer/director James Morosini’s perverse comedy I Love My Dad and the SXSW festival. It takes bravery to tell this abnormal tale of catfish courtship, but director James Morosini shows no fear in sharing his true story, and the comedy is one of the highlights of the festival this year.
Read More!['Sissy' Review: Nothing Timid About This Topical Aussie Indie [SXSW 2022]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1649080994100-QO6V9S0I6KUN3DOPC37B/Sissy-3.jpg)
One of the most enjoyable aspects of attending a festival like SXSW, is you often find diamonds in the rough; opportunities given to talented filmmakers waiting to be discovered., especially within the genres of horror or science fiction.. Sissy, is just such a gem.
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Turning Red is easily one of the most visually appealing and immersive films Pixar has released to date. From the first frame, the visual aesthetic of the film is wholly unique, and there is a creativity and passion from director Domee Shi that is on full display throughout. It’s just a shame that a Pixar entry like Turning Red must be dumped on Disney+, rather than being given a full theatrical release.
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Following the success of previous partnerships such as ‘Free Guy’, director Shawn Levy and Ryan Reynolds team up once again for a refreshing and family friendly entry into the time-travel genre with the low stakes Netflix offering, ‘The Adam Project’.
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When watching Channing Tatum and Reid Carolin directorial debut, ‘Dog’, it gave audiences exactly what was being advertised: a cute and cuddly dog picture for fans of the sub-genre and a predictable and ultimately forgettable comedy-drama about a man and his dog.
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‘Texas Chainsaw Massacre’ is a colossal disappointment. It completely dismisses everything that the franchise has done successfully up to this point, crafting a pointless and underdeveloped narrative that acts purely as a backdrop for brutal violence and shoehorned inclusion of basic, nostalgia-driven character work.
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The long-awaited ‘Death on the Nile’, a follow-up to director Kenneth Branagh’s revitalization of ‘Murder on the Orient Express’ has finally arrived in theatres. But this sequel may leave some audience members seasick.
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To those who complain that the ‘Jackass’ franchise is nothing but immature jokes and childish hijinks, Jackass Forever is here to say… they’re absolutely right. In the best way possible. There isn’t a moment of the film that takes itself any more seriously than what it is; an insanely juvenile group of friends whose sole intentions are to prank each other until they either give up or the law stops them.
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While the visual humor is spot-on, ‘Hotel Transylvania: Transformia’ suffers from a massive lack of creativity in its screenplay. Director Derek Drymon’s comedic touch isn’t lost when “Hotel Transylvania: Transformania” relies heavily on visual humor to make the audience laugh, but it’s a shame that the movie’s story has been done one too many times.
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Due to director Joel Coen’s unrivalled understanding of the genre and Washington & McDormand’s powerful and grounded performances, ‘The Tragedy of Macbeth’ manages to mostly overcome this by offering an extremely cohesive and comprehensible take on the iconic story. The Tragedy of Macbeth expertly blends old with new to create one of the most exciting and accessible Shakespeare adaptations to date.
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‘The Matrix Ressurections’ puts almost every tentpole blockbuster to shame this year. With dazzling cinematography and meticulously-crafted action sequences, Lana Wachowski, flying solo this time, has created a side to the Matrix universe audiences have never witnessed before.
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Director Matthew Vaughn’s beloved, irreverent ‘Kingsman’ franchise has returns with the prequel, ‘The King’s Man’, delivering what fans have come to love and expect, while also breaking new ground with a wide array of new, colorful characters.
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Hot off his Oscar win, Guillermo Del Toro is back with a new, expectedly dark and alluring film in the form of ‘Nightmare Alley’. Based on the novel, of the same name, and inspired by the Edmund Goulding 1947 film, del Toro has mustered up a strikingly atmospheric noir that effortlessly transports spectators into the filmmaker’s dark vision.
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Don’t Look Up is largely, a disappointment. All the ingredients for a great film are there: an original, intriguing premise, plenty of incredibly talented actors, an acclaimed director/writer, and a story that feels extremely relevant in our current society. But sadly, the film is thrown together in such a rushed and careless way that it becomes mostly uninteresting and forgettable
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