“I think so many people going into the movie might feel one way, and feel very strongly that way. By the end of the movie, it’s not that I hope the movie changes their mind, but I hope that it at least puts a question mark there. That they’re saying, maybe I don’t know everything, and maybe that’s not the point.”
– Lulu Wang

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.

“It’s all a cross-section of my brain. It’s like martial arts, comedy, drama, metal; everything that you want in a movie. It’s all personal experience stuff for me. It’s very, very, very loosely based on feelings and experiences and passions of mine. The fact that people have been responding to it the way that they have is somewhat surprising.”
– Riley Stearns

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.

Shazam! is the most consistently entertaining film Warner Bros has released as part of their DC Extended Universe tales. It’s an enjoyable lark that taps into some pretty sensational giddy juvenile wonders, it’s massive heart overflowing in themes about kindness, responsibility, friendship and family that are nothing short of timeless.

Crawl is an unpretentious creature-feature from The Hills Have Eyes and High Tension filmmaker Alexandre Aja that’s every bit of gnarly fun as its ludicrous premise makes one hope it is going to be.

Stuber is a fun little trip into the ridiculous, and while I’m not about to give this cinematic rideshare a five-star rating, it seems to me three out of four should be more than adequate.

Anchored by a superb performance from comedian, author, podcaster and essayist Maron and featuring wonderful supporting works by all three of his primary costars, especially a delightfully anarchic Watkins, Sword of Trust is a fast-paced O. Henry meets Mark Twain meets Tom Wolfe-like absurdist lark that sent me out of the theatre smiling.