It appears that Ric Roman Waugh is this year’s Richard Linklater, having released two movies in the span of a month. While the first title of his January compendium, Greenland 2: Migration, unfortunately did not have a theatrical release outside the United States, his latest effort, Shelter, is getting a global rollout, and it might just be the most January movie
Read MoreIt may be easy to dismiss Ángel Manuel Soto’s The Wrecking Crew as a fake-looking piece of “content” that only serves to fill an ever-expanding algorithm on Prime Video. You could be right to think this way, since none of the promotional materials have fully advertised the film’s pleasures the way they should have. The movie was also essentially dumped on
Read MoreThe great formalist Sam Raimi has done it again with Send Help and continues to prove why he’s one of the best genre artists working today. Of course, it (pun intended) helps that his two leads, Rachel McAdams and Dylan O’Brien, go all in with Raimi’s flashy, kinetic expressions, as the two protagonists fight for survival within the confines of a
Read MoreIt feels strange that Doug Liman’s Edge of Tomorrow, the American adaptation of Hiroshi Sakurazaka’s All You Need Is Kill, is somehow better than Kenichiro Akimoto’s more faithful and less Hollywoodized 2026 transposition for Japanese audiences. There’s no denying Studio 4°C is an animation powerhouse, but the timeloop has become the most stale and unimaginative subgenre that’s always in need of
Read MoreWhat happened for the explosive sequel of a middling actioner no one asked for, Sisu, to be this good? Usually, sequels experience diminishing returns, where the director repeats what worked in the first film without offering much beyond an effective formula that audiences enjoyed the first time and will likely enjoy again. However, in Sisu: Road to Revenge, Finnish filmmaker Jalmari Helander refuses to
Read MoreI won’t win many friends with this review, but I genuinely hated almost every second of Predator: Badlands. This is Dan Trachtenberg’s third go-around in the Predator franchise, after revitalizing the series with the (very good) Prey in 2022 and the (nifty, but forgettable) Predator: Killer of Killers earlier this year. With Badlands (not to be confused with the Terrence Malick film
Read MoreGoing into Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle (that title is a mouthful, which is why it will be mostly referred to as “Infinity Castle” from now on), it was immediately apparent that the first part of a planned trilogy of films to wrap up Koyoharu Gotuge’s adaptation of his own manga series would be filled with
Read MoreRob Reiner’s last good movie was over thirty years ago, with the incredible A Few Good Men. The rest of his oeuvre has taken quite the nosedive, and one may be inclined to think he never recovered from the blistering takedown of his disastrous North by Gene Siskel & Roger Ebert. This doesn’t mean he hasn’t had any success post-North, with
Read MoreAfter twelve years, the time has come to say goodbye to Patrick Wilson and Vera Farmiga’s iconic portrayals of the controversial “exorcists” Ed and Lorraine Warren. And what better way to bid adieu to their performances than in a melancholic finale that… sits with the protagonists as they contemplate whether they should embark on the next chapter of their lives??? Damn,
Read MoreRian Johnson is known for subverting audience expectations and rejecting traditional narrative structures, which is why I’m always drawn to his work, even if some of them weren’t as acclaimed as others. I will still be the first to defend and praise Star Wars: The Last Jedi as the best film of 2017, one of the decade’s crowning achievements, and the best Star Wars movie
Read MoreIn an era where mainstream action films strive for perfection in their aesthetics and intricate fight choreographies, genre artist Timo Tjahjanto stands out among the pack as one who strives for imperfection. The clumsier, messier, and more imperfect the action scene is, the more cathartic, violent, and ultimately engaging the set piece will be for the viewer. None of it is
Read MoreAs has been the case for its previous horror movies, NEON has raked up interesting marketing campaigns for some of their more terrifying titles, such as Osgood Perkins’ Longlegs, The Monkey, and Tilman Singer’s Cuckoo. The studio wants as many people as possible watching in cinemas knowing as little as possible about the movie itself. That’s why you’ll see many ads
Read More
