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Not a knockoff of that other quiet horror flick, though this familiar monster movie works hard to convince otherwise. But the terrific cast makes it worth a look, at least for Netflix subscribers.
More movies like this, please: a piquant mix of whimsy and snark; an insistence that it’s not crazy to forge your own oddball path; an embrace of girly uncool. Bring on the weird, difficult women.
Complete nonsense, and not in a good way, with an enraging side dish of male undercutting of women’s friendships. For a movie to be both this ludicrous and this predictable is quite an achievement.
Hilarious, provocative look at the wonderfully profane rebels of the culture wars who, with tongue in cheek but seriously, too, are trolling fundie-Christian America with their delicious blasphemies.
There’s a lot of hot-button stuff going on in this A-bomb spy drama — politics, sexism, scientific ethics — but it’s all surprisingly inert, given the literal fate-of-the-world stakes.
There isn’t a likeable character in this parade of misery, nor even an intriguingly unlikeable one. An unfocused, random plot merely cuts through a messy ensemble of criminal working-class Londoners.
Not only a portrait of the woman who made more than a thousand of the very first films, but a mystery detective story about how the achievements of a trailblazing woman were erased, and found again.
Shireen Seno’s portrait of a remarkably imaginative and self-contained child at a specifically 1980s Filipino moment is full of both charming whimsy and a delicately observed, melancholy universality.
Like Drunk History but sober, a lively, arch, dryly comedic corrective to the traditional, heteronormative, patriarchal image of Emily Dickinson. Incredibly audacious and utterly delightful.
Bounces from one preposterous setpiece to another across an inexcusably flavorless magical, monstrous world, and borderline incoherent as it races through the plots of half a dozen different films.
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