Soul ends on the perfect note, its last moments overflowing in voluminous human insights so melodious I could happily hum its climactic tune for a lifetime and likely never grow tired of hearing it.
Wonder Woman 1984 is an ambitious adventure, one that exuberantly galivants between Themyscira, Washington, DC, the Middle East and an isolated top-secret military satellite station with breakneck enthusiasm.
If Roland Emmerich’s outlandishly overblown 2009 hit 2012 and Roar Uthaug’s 2015 critical darling The Wave got together and had a baby, it would probably look a lot like Ric Roman Waugh’s goofy-if-grounded Gerard Butler disaster epic Greenland.
News of the World is a robust, beautifully shot drama, and while little unexpected transpires, the characters are so richly drawn and their travels so wonderfully realized that honestly isn’t much of a problem.
Murphy’s joy in slapping me silly for every second of The Prom’s laborious 130 minutes was more than I could take, this laudably inclusive LGBTQ high school musical a celebratory dance I’d rather not have been invited to attend.
Queer Japan a Colorfully Fascinating LGBTQ Travelogue Flipping vicariously between Tokyo, Osaka, Kyoto and Okinawa and chronicling several noteworthy subjects, Queer Japan is a leisurely paced documentary travelogue into Japanese LGBTQ culture. Weaving something like 100 interviews into the narrative, director Graham Kolbeins paints with broad strokes, revealing a portrait of identity, labels and culture […]
Songbird pushes buttons that feel ugly and inappropriate, all of which makes giving the film any sort of fair assessment difficult to do.
The Stand In moves through the motions with a plodding laboriousness that grows increasingly irritating, and almost all of the supporting players are never around long enough to make anything more than a passing impression.
Mank is nothing more than a metaphorical celluloid sled of failed dreams and misguided ambition burning to ash in a fiery furnace fueled by frustratingly combustible emptiness.