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davidehrlich has written 49 reviews for films rated .

  • American Skin

    American Skin

    The debate over Nate Parker’s value as a person may never be conclusively decided (though it may seem otherwise in the court of public opinion), but the debate over Nate Parker’s value as a filmmaker has just been settled once and for all: He doesn’t have any. An unsolicited coda to a career that most of us assumed was already over, “American Skin” is an asinine and self-serving call to action that tries to hide its basic incompetence behind a…

  • The Lion King

    The Lion King

    Unfolding like the world’s longest and least convincing deepfake, Jon Favreau’s (almost) photorealistic remake of “The Lion King” is meant to represent the next step in Disney’s circle of life, but this soulless chimera of a film comes off as little more than a glorified tech demo from a greedy conglomerate — a well-rendered but creatively bankrupt self-portrait of a movie studio eating its own tail. In other words, it’s more of the same from a company that’s been all…

  • Murder Mystery

    Murder Mystery

    It was just starting to look like Adam Sandler got his groove back. His performance in Noah Baumbach’s “The Meyerowitz Stories” was among the best of his career, his PTA-approved comedy special “Adam Sandler 100% Fresh” was a rapid-fire reminder of what people loved about him in the first place, and — judging by paparazzi shots from the set — his performance as a Diamond district jeweler in the Safdie brothers’ forthcoming “Uncut Gems” could redefine screen acting as we…

  • The Haunting of Sharon Tate

    The Haunting of Sharon Tate

    Daniel Farrands’ unfathomably bad “The Haunting of Sharon Tate” poses a number of provocative questions. The first is asked by Edgar Allen Poe in a stanza of on-screen text: “Is all that we see or seem but a dream within a dream?” Hmm. The next comes from the film’s casting director, whose name has been omitted from this review in order to protect the under-the-line talent: “What would it look like if the most culturally seismic killings of 1969 were…

  • Wonder Park

    Wonder Park

    The most notable thing about Paramount’s “Wonder Park” — a sugar-addled “My Neighbor Totoro” ripoff with a beautiful message and a hideous everything else — is that the movie seems to have been made without a director. That’s not an insult, it’s a fact: Behold what might be the only IMDb page where the writers get top billing.

    Perhaps that’s a damning indictment of a production that never found its way. More likely, it’s an honest reflection of how most…

  • Replicas

    Replicas

    Frankensteined together from the stiff corpses of a dozen smarter movies, “Replicas” is a cloning thriller so carelessly stupid that it often feels like a mad science experiment gone wrong. In fact, the film is such an awkward chimera of stolen ideas that the premise alone violates the basic laws of screenwriting, and probably also those of nature itself.

    William Foster (Keanu Reeves, in a lifeless performance that’s silently praying for VOD) is the top neuroscientist at Puerto Rico’s Bionyne…

  • Vice

    Vice

    VICE is an *incredibly* damning portrait of Dick Cheney, in that verrrrry few people could inspire a movie this bad — this self-satisfied, this tonally incoherent, this misjudged — and *still* not have it rank among the 10 worst things they’ve ever done.

    Adam McKay was an “important" filmmaker until the moment he started trying to become one. i have endless faith that he’ll figure things out, but these recent history disaster satires (disastires?) aren’t it.

  • Robin Hood

    Robin Hood

    This year has seen a (small) handful of movies as bad as Otto Bathurst’s revisionist new “Robin Hood,” but none of them — not “Mile 22” nor “The Happytime Murders” nor even Dinesh D’Souza’s “Death of a Nation” — have been more in denial of their own badness. If nothing else, this accidentally hilarious, goofy train wreck of an origin story most definitely has the courage of its convictions. Alas, the film isn’t smart enough to recognize that its convictions…

  • Mile 22

    Mile 22

    Far and away the worst summer movie of 2018 (at least of the ones that weren’t directed by Dinesh D’Souza, and don’t feature the Slender Man), “Mile 22” represents a bold new low for modern Hollywood’s most patriotic duo, as Peter Berg and Mark Wahlberg’s dick-swinging brand of American exceptionalism is starting to feel more than a little forced in these unexceptional times.

    While “Lone Survivor” was basically a recruitment film, “Patriot’s Day” was an all-too-engaging dramatization of the Boston…

  • Slender Man

    Slender Man

    A tasteless and inedibly undercooked serving of the internet’s stalest Creepypasta, “Slender Man” aspires to be for the YouTube era what “The Ring” was to the last gasps of the VHS generation. But while both films attempt to mine full-fleshed horror mythologies from spooky viral videos, luring their hapless characters into an unwinnable war of attrition with an evil force that lurks on the fringes of the visible world, there’s one fundamental difference that sets the two movies apart: “The…

  • Escape Plan 2: Hades

    Escape Plan 2: Hades

    Welcome to hell. In order to properly contextualize just how painful it is to sit through “Escape Plan 2: Hades,” here is a comprehensive list of the movie’s virtues:

    Sylvester Stallone successfully says the word “algorithm.”

    50 Cent plays a GQ-styled security expert named “Hush.”

    There’s a scene where Dave Bautista solves a Rubik’s Cube and then physically threatens Fall Out Boy bassist Pete Wentz.

    At one point, Bautista walks by a marquee for Idina Menzel while wearing an outfit…

  • Gotti

    Gotti

    There are exactly three interesting choices in “Gotti,” Kevin Connolly’s amateurish biopic about the late and legendary New York mobster, John Gotti. (Yes, E from “Entourage” directs movies. No, this isn’t the first one).

    The first comes at you right off the top: Inverting an exhausted trend, Connolly opens the movie with footage of the actual people in the story, rather than saving it for the closing credits as per usual. It’s a smart move, if only because John Travolta’s…