Isn’t It Romantic is pretty darn amusing, and if Strauss-Schulson and the writers don’t make quite as much out of their inventive scenario as they potentially could have, that doesn’t make what they have delivered any less enjoyable.
The LEGO Movie 2: The Second Part might not be as awesome as its forerunner but that doesn’t make it any less worthwhile, this amusing follow-up an irreverent gem that even with a few minor misgivings I couldn’t help but enjoy.
What Men Want is a tone-deaf retread that rarely evokes a slight giggle let alone a full guffaw, the film so devoid of satirical insight or comedic inspiration it’s easy to wonder if the film was ever supposed to contain either trait to begin with.
Gustav Möller’s The Guilty is one of 2018 best films. It was a worthy submission for Best Foreign Language Film by Denmark, and even though it didn’t ultimately score a nomination that doesn’t make it any less stellar.
I’m not going to hate on Miss Bala. Rodriguez is great and I can easily imagine myself being perfectly content to give this one a second look when it’s streaming on Amazon or Netflix, available as a free selection OnDemand or after it begins making the rounds on Cable television. But it just as equally isn’t a thriller I’m going to make any plans to view again for that second time anytime soon.
The Nutcracker and the Four Realms is growing on me. It’s still a strange movie that has way too much going on and one that never quite gets a handle on all of its various story elements. But it’s made with imagination and flair, and as a purely visual exercise much of it truly is delightful.
In retrospect, watching Dragon Ball Super: Broly wasn’t the greatest idea I’ve ever had.
I ended up enjoying Cornish’s sophomore outing one heck of a lot. The Kid Who Would Be King is a total blast, this Arthurian tale of thrilling daring-do and noble valor a royal success worth taking the entire family to the theatre to see.
Ugly and uncomfortable, 10 to Midnight is certainly one of the seedier and more abhorrent exploitation thrillers star Charles Bronson made during the twilight of his career for Cannon Films. But it’s also one of his more fascinating efforts for the studio, its edgy, thought-provoking script a true descent into emotionally-deranged terror that packs far more of a viscerally upsetting punch than anticipated.