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Rian Johnson’s third outing with droll detective Benoit Blanc, perhaps the most memorable original new movie character in decades, is a grimly funny gothic romp through modern hot-button Americana.
Brash, chaotic, full of bleak humor and bitter irony. With blockbuster vibes over an anarchic indie heart, it’s both earnest and winking. Outstanding in-flight entertainment for our societal freefall.
The quirks of this slightly fantastical black-comedy crime thriller are many, varied, and messily disjointed. But there’s a delicious oddness to its unpredictability and its spin on familiar tropes.
Hollywood has lost the ability to buckle swash. Guy Ritchie, shamelessly stealing from Indiana Jones, gives us a charmless treasure hunt that feels honed by corporate focus groups and cinematic SEO.
Wildly primal, big and bold, fueled by pain and rage, by community and family, throbbing with love and sex and joy, infused with magic. A sumptuously textured, unmissable howl of a passion project.
A portrait of a weak man, humorless and friendless, desperate to be liked, desperate to be seen as someone who matters. Sebastian Stan’s brilliantly disgusting Trump is horrifically riveting.
Unfunny action comedy can’t even pull off sloppy Yuletide kitsch. The anti-chemistry among its likable stars is “bested” only by the ugly CGI. Have some light festive violence — you know, for kids!
A mad monstrosity of a movie: absurdist, enigmatic, perverse. Lanthimos’s typical grotesque humor is on full display. Yay for a film that actually attempts to capture how insane the world is today?
A great American filmmaker on a memory-holed chapter of American history at the intersection of colonialism and toxic masculinity. Massive, epic, and essential. Scorches the earth of our complacency.
Rote cat-and-mouse thriller spins its wheels getting somewhere obvious, just so wild-eyed Nic Cage can cartoonishly Rage again. Look, the actor has found his schtick, and he’s sticking with it, okay?
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