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Oppenheimer (2023)
Despite his film having prestige written all over it, Nolan the theoretical cineaste has rewritten the rules of the prestige picture...[with] his epic reconstruction and deconstruction of the Manhattan Project and the man who organized it.
Mission: Impossible—Dead Reckoning Part One (2023)
It comes down to the extended climax to make or break
Dead Reckoning...
and happily, the finale delivers with what could be the most impressive train shenanigans since Buster Keaton's
The General.
Indiana Jones and the Dial of Destiny (2023)
[Spoiler-free review:]
Mangold has practically worked a miracle: an experience that delivers everything a fan should want from an Indiana Jones movie...Congratulations, Disney. I can't wait to get on this ride again.
The Flash (2023)
[Spoiler-free review:]
For all its flaws,
The Flash
proves strong on character where it counts as it serves up its MCU-style comedy, tragedy, and wow-factor visuals...In the final equation, the Scarlet Speedster gi
The House That Screamed (1969)
This early slasher movie and somewhat
Psycho
rip-off is also an artful and unnerving gothic horror picture in its own right. [Blu-ray]
Ant-Man and the Wasp: Quantumania (2023)
Offers too much sensational spectacle, melodrama, and high-stakes sci-fi adventure ever to bore its audience, but its echoes of exhausted blockbuster tropes ring hollow.
Cairo Conspiracy (a.k.a. Boy from Heaven) (2023)
A political movie of religious intrigue, well-acted and directed with a good script and great visual appeal.
You People (2023)
A tightrope act to have a conversation about race when your priority is to get laughs. Great cast, but by its climax you feel like the movie's the hammer and you're the nail.
Retrograde (2022)
History on film. Well edited, bleak...vital journalism.
My Best Friend's Exorcism (2022)
Charmingly and frighteningly nostalgic, touching on feminist social satire.
The Greatest Beer Run Ever (2022)
Tonally shifty, overlong, repetitive and as history simplistic, but well-made and an interesting effort to reach across the aisle from the socially liberal to the socially conservative.
God's Creatures (2022)
A deliberately paced, bleak, and unsettling morality play that never really gets much traction, spins its heels, and ultimately fails to find a way to make its material interesting.
Hellraiser (2022)
Not as hardcore as the in-your-face, bloody, gory, sweaty, dirty, puss-y, oozing, festering, nightmarish 1987 original, but still honors Clive Barker's concept with a stronger, more-interested-in-world-building narrative.
Blow Out (1981)
Brian DePalma's 'earwitness' thriller may just be his best film—strong direction, a good script and self-reflexive in clever meta ways that were before its time.
Catherine Called Birdy (2022)
Pretty low-key but enjoyable enough medieval coming-of-age comedy boasts a cheeky, naughty sense of humor and a period story complicated by class and the limited mobility of gender.
Meet Cute (2022)
A sci-fi romantic light comedy anchored by two charming lead performances which is less interested in laughs than it is in presenting an allegory of damaged people trying to hold on to love and happiness.
Hocus Pocus 2 (2022)
Marginally improved...and Midler, Parker and Najimy still play their characters with the hammy gusto of 1966 Batman villains.
The Story of Film: A New Generation (2022)
If you love movies, you definitely want to be in this discussion.
See How They Run (2022)
A spirited, meta, frothy and amusingly arch mystery comedy for theater nerds with a snappy script and a smashing cast.
The Silent Twins (2022)
Effective in its refusal to spell out diagnoses or adopt a specific analytic take. Instead, it invites interpretation.
God's Country (2022)
A dark, timely and endlessly fascinating mood piece. Thandiwe Newton is perfection in a deep-dive character study that explores several interesting triangular conflicts.
Sidney (2022)
Perhaps the definitive documentary on Sidney Poitier, touching upon his cultural significance and challenging position as a transitional and transformative cultural figure.
Buried (2022)
A highly interesting document of a pretty potent story told in its entirety.
Goodnight Mommy (2022)
A mixed bag, but there are definitely moments where the performances, direction and photography sync up for an effectively moody atmosphere.
Blonde (2022)
Bold, indulgent, polarizing, poetic, rapturous and artfully made but also an epic-length torment, like the secular
The Passion Of The Christ
.
The Woman King (2022)
The diffuse storytelling somewhat dilutes the film's themes but Viola Davis, a Terence Blanchard score and an inherently interesting milieu are all good reasons to see it.
Confess, Fletch (2022)
A triumphant re-thinking of the Fletch franchise with a flat-out great script, confident direction and a stand-out star performance.
Clerks III (2022)
The weakest of the three. It fails at taking its own emotional logic that seriously; the drama is embarrassingly schmaltzy and the humor hacky. Feels like a parody of itself.
Private Desert (2022)
A melancholic and poetic queer romance that teases out some interesting ambiguities about the nature of the story's relationship.
Pinocchio (2022)
There's an overabundance of unnecessary concessions to modern taste in this effects-driven, CGI-animated remake, but it moves along pretty nicely—and they haven't broken it.
Out of Office (2022)
Lightweight, flimsy and sitcomedic in the style of
The Office
, but its cast of funny people being funny is enough for a recommendation.
I Came By (2022)
Hugh Bonneville as a posh but psychotic killer with serious daddy issues. So-so script but enjoyable enough as a pulse-pounding thriller.
Peter Von Kant (2022)
Ozon's gender reversal of Fassbinder's
The Bitter Tears of Petra Von Kant
straddles camp, but it's colorful and makes a bit more of the obsessive relationship between artist & muse.
Star Trek: The Motion Picture—The Director's Edition (4K) (1979)
The most ambitious of all the
Star Trek
films—philosophical and metaphysical on a grand scale.
The Delta Force (1986)
A dated and morally dubious propaganda film.
Samaritan (2022)
Well shot, but it doesn’t really go anywhere interesting—a wafer-thin plot, simplistic, and repetitive. It’s all theatrics and no theater.
Katrina Babies (2022)
A lot of this feels a bit like therapy in front of the camera, but the subject matter is so compelling that, if approached from an emotional rather than intellectual standpoint, it definitely holds one’s interest.
The Invitation (2022)
Comes on like an old Hammer horror picture, but then becomes full of old-hat psychological horror theatrics lacking a single original or interesting idea or performance.
Me Time (2022)
A very strange mix of family sitcom and R-rated bro-down buddy comedy. A witless string of dumb comic set pieces and an unfunny slog.
Burial (2022)
A tense and compelling World War II thriller and a leisurely shoot-‘em-up made all the more unsettling by its deliberate pace, interesting ideas and timely sociopolitical parallels.
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