Long rumored — long threatened? — writer-director-producer-star Flatley’s self-financed pabulum opus is baffling and hilariously awful. It exists only because an incredibly rich man has money to burn.
Idris Elba fights a lion. This is what we are promised and this is what we get. The purity is sort of beautiful. But is it a failure of the movie, or a success, that it treats such nonsense earnestly?
Limp thriller is both overly earnest and naively preposterous. A mess of retro ideas about marriage and men, with a protagonist who lacks agency. There’s no suspense but plenty of misplaced moralizing.
There are delicious popcorn-movie vibes and horrors galore, both funny-suspenseful and stone-cold bone-chilling. But most intriguing is the twistiness of how the movie grapples with its own existence.
The rare sequel better than the original, but that’s not saying much. Takes too long to get to its surprises, its adult star is unconvincing as a child, and its minimal cleverness feels like a cheat.
Comfortably unchallenging French romantic drama, though it does Freudian-slip into implying that the engineer was only inspired to erect his soaring tower when an old flame reawakened his, er, heart.
A portrait of Diana’s depiction in the press that is incendiary, incisive, and transfixing. A litany of horror, in retrospect, and an incredibly valuable look at how public stories are shaped by media.
This Danish black comedy is a meandering exploration of masculinity in the 21st century, and though it’s more miss than hit, it’s charming and bittersweetly heartfelt in its bumbling and bungling.
The cast is, on paper, terrific, but there’s nothing engaging in their bloody savagery. A misfire of a supposed action comedy, this mind-numbing mess is by turns grating, tedious, and infuriating.
This 60-year-old story of pursuing a dream with resolute kindness could not feel more fresh in its knowing class clash. Lesley Manville is an absolute treasure, her command of comedic pathos supreme.