Featuring a performance from Williams that is as beautifully nuanced and overflowing in naturalistic intensity as any she’s previously given, Scott’s All the Money in the World is an absorbing procedural that is marinated in uncomfortably authentic tension, events building to an explosive conclusion that left me happily gobsmacked.
If Molly’s Game doesn’t quite have what would typically be considered a winning hand, it bluffs just well enough to still take the pot, proving that a pleasant smirk and a little underhanded double-dealing isn’t always as terrible a thing as it should be. Heck, sometimes it might even be construed as charming.
Downsizing’s many issues outweigh its attributes so significantly I can’t help but feel like this will go down as one of the year’s most frustrating disappointments, and for a director as undeniably talented as Payne there’s nothing small about just how upsetting I find making a statement like that one to be.
But the real problem is that, other than a few random moments here and there, Father Figures just isn’t funny.
[If] Pitch Perfect 3 ends up being the Bellas’ a cappella swan song, for my part I can’t help but feel the entire group goes out on something of a satisfying high note.
Call Me by Your Name might not go anywhere unexpected, yet that doesn’t make getting to the destination any less of a joy, Guadagnino’s latest a marvel of truthful nuance worthy of a standing ovation.
[As] pure entertainment, Gracey’s energetic effort succeeds in a way that goes well beyond anything I antic pated before entering the theatre, The Greatest Showman a three-ring phenomenon the entire family is almost certain to enjoy.
Jumanji: Welcome to the Jungle might not be a great movie, but sure as heck it’s an entertaining one, and unlike its forerunner this is one kid-friendly action spectacular I wouldn’t mind watching again.
I’m just not bullish on Ferdinand, the finished product a minor disappointment I cannot imagine I will ever purposefully watch again.