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The goofy-90s-cheese factor is high in this look at home-shopping TV hucksters, but any nostalgia is small and cheap. The chipper vibe is distasteful in a way it perhaps wasn’t in the booming 1990s.
Writer-director John Krasinski’s absolute desperation to whip up magical whimsy utterly fails. No matter how he tries to force enchantment into existence, this is more fever dream than flight of fancy.
Marisa Abela is very good as Amy Winehouse, the one saving grace of this cowardly biopic of the wild and wise musician, which hangs its subject out to dry just as the people closest to her did, too.
This mess isn’t as clever as it thinks it is, and wastes the small charms of the delicious chemistry between Ryan Gosling and Emily Blunt. Feels like they shot a dashed-off first draft of the script.
It exists safely within the vast subgenre of postcollapse afterscapes, but it does what it does well, with nicely drawn characters, a sense of cultural mythmaking, and freakishly unsettling creatures.
The pleasures of this black comedy about London real estate and the hypocrisies of posh professionals lie in the terrific cast, especially Shirley Henderson, embodying entertainingly horrible people.
A spineless dystopian action drama that defaults to a dangerously irresponsible both-sides-ism; its pretense of “objectivity” is unfair to the journalist protagonists the film thinks it’s championing.
Uniquely fresh yet also deeply lodged in the history of cinematic horror, with a powerful breakout performance from David Dastmalchian. But its triumph is, ironically, marred by the use of “AI” “art.”
An upending of the period costume drama that’s cheerfully indecent, gloriously naughty, and full of female rage at the expectations women operate under. Funny as hell and bursting with impudent energy.
Ugly, outrageous, brutal, and cynical; a genuinely terrifying film about power and politics as religion and control. There is little escapism here; hits square in the social plexus of horrifying 2024.
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