Baby Driver movie review: common car-nage
Edgar Wright used to send up cinematic clichés with gusto and with huge humor. Here he just embraces them — and his sullen, unengaging hero — unironically.
Year: 2017
The House movie review: burn it down
The hint of a seed of a bitter satire is buried under inept, momentum-free comedy. They should have developed the script’s rough first draft instead of shooting it.
The Beguiled movie review: horror of manners
If Jane Austen wrote a horror movie. An almost serene sinisterness infuses female-gazey carnal intrigue… but it could be even more feminist than it is.
curated: everything that’s wrong with Hollywood today.
This is ridiculous.
Megan Leavey (aka Rex) movie review: a soldier and her dog
This deeply satisfying military drama demonstrates that a simple, even familiar story can be powerfully effective when told with big heart and solid craft.
The Bad Batch movie review: a girl walks into dystopia alone
Filmmaker-to-watch Ana Lily Amirpour again shakes up a familiar genre — here, the postapocalyptic adventure — in unexpected ways, but stumbles a bit in the process.
Lost in Paris (Paris pieds nus) movie review: French kicks
An exquisite miniature puzzle-box pop-up-book of a movie. All is color and light and exhilaration here, a fantastical lark that is sheer mischievous joy.
47 Meters Down movie review: jumping the shark
Originally slated for a VOD release, and it feels like it: the few moments of simple tension quickly dissipate in the murky and not very shark-infested depths.
The Journey movie review: a civil end to war
This fictional dialogue inspired by a private meeting between real-life enemies can’t muster up more than the usual banalities about the ethics of politics and war.
The Wedding Invitation movie review: regrets only
This strained comedy might have been progressive in the 1960s, but today it reeks of an infantilization of women that warrants squashing, not celebrating.
