I walked out of the promo screening a little angry, disappointed that Taylor’s Black and Blue never lived up to the potential it so deftly showcased for much of its 108-minute running time.
The Lighthouse is one of 2019’s most uniquely satisfying creative endeavors, and even if I’m still not sure what the point of it all is I just as assuredly cannot wait to head back to the theatre and weigh anchor on a second viewing as soon as possible.
I had a great time watching Maleficent: Mistress of Evil come to such vibrant, colorfully intoxicating life, and as magic tricks go this is one moribund franchise I’m glad to say has risen from the ashes of its predecessor and found fiery new life as its own, captivatingly idiosyncratic animal.
Trick isn’t much of a Halloween treat, and like a sour apple stuffed with razor blades washing the bad taste of this one out of my mouth is going to be difficult to do.
Crawl works. There’s not much else to say. Alexandre Aja has crafted one of the better thrillers of 2019, this nifty little creature-feature a bloody little aquatic home invasion hurricane blast that only gets better with each subsequent viewing.
Gemini Man is the type of high-concept idea that were a dime a dozen back in the 1990s.
Low Tide did just enough to keep me wanting to know what was going to happen next and to find out whether or not brothers Alan and Peter would be able to keep from drowning in the tumultuous sea of bad decisions they were swimming in.
Nichols knew how to hold my attention, Wrinkles the Clown a celebration of petrifying delights that had my guts twisted into unbreakable knots.
Joker wasn’t for me, and even if I were to dance with the devil in the pale moonlight and have a sudden desire to watch the world burn that still doesn’t mean I see my opinion changing anytime soon.