It doesn’t happen immediately, but when it matters most, Raimi unleashes all of the crazy, comedically vaudevillian, blood-soaked, visually audacious tricks fans expect from him, and Doctor Strange in the Multiverse of Madness comes alive like no other MCU entry in recent memory.
Victor/Victoria: Blake Edwards’ 1982 gender-bending Parisian musical farce remains ahead of its time
The Bad Guys is an awful lot of fun.
A sensory triumph more than it is an emotional one, The Northman is nonetheless an enthralling endeavor, everything building to a crushing finale of senseless masculine bravado that’s as gut-wrenchingly beautiful as it is tragically heartbreaking.
Cage knocks it out of the park, making The Unbearable Weight of Massive Talent a triumphant culmination of a career that’s hopefully far from over.
Gustavo Hernández’s latest shocker Virus: 32 is an effectively unsettling slice of bloody run-and-hide zombie horror that had me squirming in my seat.
Themes revolving around personal self-discovery are universal in their eerie effectiveness, and there were multiple moments where I saw myself in the main character, a quiet shiver cascading down my spine every time.
While not nearly as fresh as its predecessor, this second helping of blood-splattered dystopian craziness is still a decent bit of fun.
I had a blast while watching Ambulance. This crazed shot of pure melodramatically idiotic adrenaline was just what I needed, the thunderous roar of every engine a fast and furious joy worth getting excited about.