I’m not going to lie and say that Screams of a Winter Night is some long, lost horror anthology classic. It isn’t. But the film has so much go-for-broke, let’s-put-on-a-show charm that it’s not a huge deal that a lot of this doesn’t end up working particularly well.
I was never able to let myself go and enjoy all this loopy jungle madness, The Lost City coming across as too mechanically forgettable for my tastes.
Presumed Oscar frontrunners Power of the Dog, CODA, and Belfast battling it out for Best Picture
X is a gnarly, sexually provocative thriller that juxtaposes youthful upheaval against the inevitable ravages of old age, all of it showcased with tongue firmly in cheek and middle finger proudly unfurled.
Instead of taking the easy way out, the aftereffects of tragedy and loss are allowed to linger in ways atypical for genre fair like this, granting The Adam Project an extra layer of empathetic hopefulness that’s lovely.
Turning Red is a miracle of storytelling genius. It will be one of the best films of 2022. Heck, it may turn out to be one of the best I’ve seen the remainder of this decade.
There is something triumphant about Reeves’ The Batman, and I do like where the film leaves the character before the screen fades to black. But so many aspects don’t come together, each refusing to resonate no matter how much I wished otherwise.
Cabaret: A decadent tale of sex, friendship, music, and fascism that’s as vital now as it was 50 years ago
Tinker Tailor Soldier Spy has only gotten better with age.