That look of terror on Joel Hamilton's face when his daughter tells him she's burning her hopes and dreams is where this movie became an all-timer for me.
A small-in-scale but large-in-emotional-heft dollop of a movie, Leave No Trace takes no prisoners in exploring post-traumatic stress disorder while manifestly refusing, at almost every point, to admit that it is exploring post-traumatic stress disorder, which is kind of the point really because the film is about a man attempting to escape his demons because he can't manage to face them any more. But really, it's about his daughter and what happens to her in the wake of all this.
Magnificently written, acted and shot. This is a perfect film. You deserve to see it.
A triumph from pillar to post, Into the Spider-Verse is so improbable a success - a Spider-Man movie from a studio that has consistently fucked up Spider-Man movies based on a comic-nerdily dense idea that should be impenetrable to ninety-nine percent of the viewing audience - that it is hard to call it anything other than "remarkable," but that feels unfair simply because it is so good that just going with "remarkable" feels like giving it points for existing rather…
As Hollywood studio comedies go, it's harder to manage better than what GAME NIGHT achieves at this point. By this I mean that there's nothing terribly surprising about it - I mean, Jason Bateman at one point actively references how studio comedies like GAME NIGHT always throw in callbacks to the main characters' personal crises that run alongside the plot of the film to distract viewers from the fact that they're running that same formula again - but it's really…