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The Hunt for Red October as made by a Michael Bay wannabe who can’t even rise to the level of giving-a-propagandistic-crap. Absurd geopolitics and laugh-out-loud clichés abound; tension and excitement do not.
A minor fan-fiction take on the franchise’s mythology: Hey, maybe middle-aged Laurie Strode likes guns LOL? Nowhere near as feminist or as psychologically incisive as it thinks it is. And it’s not even scary.
This tale of a teenaged girl’s crossing the boundary from childhood to too-early adulthood, simultaneously a portrait of a society quietly yet inexorably collapsing, has a disturbing power that sneaks up on you.
A wholly remarkable film, just barely fictionalized from the lives of its cast of nonprofessional actors, about the indomitable spirit of the women of East Africa. Pili’s life isn’t unrecognizable to women worldwide, though.
Better than the unfunny first one, not as witty as the clever second one. But it has a bit of sly Brexit bite that is very welcome right now. Laugh until you cry!
A self-indulgent, faux-woke mashup of noir crime, black comedy, and Tarantino-esque ultraviolence. Some great performances, including a spectacular feature debut from Cynthia Erivo; shame they’re so wasted.
Damian Chazelle finds a dreamlike reverie amidst rocket-powered mechanical brawn. As wonderfully, nerve-wrackingly exhausting as it is movingly intimate.
A dull, dated comic-book clunker that is somehow even smaller and lesser than the sum of its noisy, junky, clichéd bits. So perfunctory that it saps even its excellent cast of all their charisma.
Instantly sweeps us up in its passion, its electricity, its music, and characters to fall in love with. Lady Gaga is a revelation. It’s impossible to believe Bradley Cooper has never directed before. I adore this movie.
Hail Mary, full of rage. Mary Elizabeth Winstead is utterly incendiary in this own-worst-enemy dramedy that gender-flips a tired genre to give angry new voice to a woman speaking her own truths.
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