Wicked Witches isn’t a total loss by any means. It just doesn’t cast a very memorable spell, the whole thing lacking in the type of magic that might have gotten under my skin and made this one worthwhile.
Dora and the Lost City of Gold is superb, and here’s hoping this live-action teenage take on the material is a modest hit, if only because selfishly I want to watch this pint-sized adventurer head out into the wilds to continue her exploring immediately.
While not for everyone, Ladyworld ended up getting to me, it’s freeze-frame conclusion nothing less than disquietly marvelous.
I just can’t deal with Hobbs & Shaw. It wore me down to the point I wanted to gnaw through my seat’s armrests as I kept praying for it to end.
The majority of the characters in Trespassers weren’t ones I wanted to spend that much time with, and other than Sarah I had to look long and hard to find anything approaching a redeeming quality in just about any of them.
By the time Tarantino played fast and loose with history and ramped up his masculine Los Angeles fairy tale to bloodily gruesome new heights, Once Upon a Time…in Hollywood had pretty much lost me, and I suddenly realized this was one bit of loopy pulp fiction I could have done without.
The Art of Self-Defense is a strange little comedy I couldn’t have disliked even if I had wanted to try to do so, Stearns’ latest a gleeful bit of martial arts rebellion I’m excited to see again.
The Farewell is one of the best films of 2019. Heck, it might even be one of the best of the entire decade.
None of it mattered to me, and while I wanted to shrug my shoulders and whisper inaudibly, “Hakuna Matata,” as the end credits began their scrawl, the truth of the matter is that I felt no love for this The Lion King remake, it’s overall storytelling mediocrity a circle of never-ending disappointment I couldn’t wait to be finished with.