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  • Lady Macbeth

    Lady Macbeth

    ★★★½

    I'm making a list called "performances that are better than most of the 2018 Oscar nominations" and Florence Pugh is already on it.

  • It Comes at Night

    It Comes at Night

    ★★★

    On a technical level, this is a fun little exercise in the manipulation of space. Shults and d.p. Drew Daniels have a clear vision for what they want their set to become on screen, their use of wide lenses in tight spaces meshing well with their lighting and blocking and changing aspect ratios. Their quintessential image consists of the camera dollying toward a red door, the focal point of the entire film because of what it represents: an unknown that…

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  • Kong: Skull Island

    Kong: Skull Island

    ★★★★

    There are very few things that I respect more than a movie that is unafraid to embrace its own stupidity. Kong: Skull Island has thinly written characters, extreme tonal dissonance, bad dialogue, and a complete and utter disregard for the talents of Oscar-winning actress Brie Larson, but it’s absolutely glorious in its brazen spectacle. Its thin characters and tonal dissonance don’t matter as much because it thoroughly commits to its premise, and it seems like the movie is one ridiculous–but…

  • Wonder Woman

    Wonder Woman

    ★★½

    Wonder Woman is a worthy follow up to Logan in that it continues the trend of people overhyping slight variations on a worn-out formula, as well as blatantly disrespecting The Dark Knight by vomiting out hyperbolic quality comparisons to that masterpiece. For a film that’s been labeled as progressive and empowering and different, it does remarkably little to separate itself from the vapid storytelling that has plagued preceding works. In fact, the most praiseworthy aspect of this project is Patty…