• Run

    Run

    ★★★★

    Sarah Paulson’s Mt. Rushmore of Delicious Character Parts is far from finished but let’s carve Diane Sherman on it for now — and anyone who tells you why doesn’t love you.

    This movie rips, the score rips, let Aneesh Chaganty make anything he likes.

  • Roald Dahl's The Witches

    Roald Dahl's The Witches

    ★★★

    100 years from now, the Earth will be ash and Anne Hathaway’s work in The Witches just chewing what’s left of the scenery.

     No notes.

  • The Devil All the Time

    The Devil All the Time

    ★★★½

    Is Robert Pattinson’s accent in this film:

    1) Foghorn Leghorn
    2) Lil’ Boosie
    3) Foghorn Leghorn + Lil’ Boosie
    4) A fey alien who, in the hopes of blending in, has adopted a West Virginia drawl and is happily, hopelessly blowing it.

    Cast your vote in the comments.

  • Antebellum

    Antebellum

    ★★

    I’ve rarely seen a movie more artfully shoot itself in the foot than Antebellum does — repeatedly. It shoots its metaphoric toes; it busts its kneecaps. It bloody stumbles over the finish line only to scream “FUCK” and take a bulldozer to its own being (literally). If Gerard Bush and Christopher Renz’s well-intention movie is meant to end the plantation film once and for all? Good. But to do so, it resurrects it first in fourteen million dollar clothes. I’m…

  • Blade: Trinity

    Blade: Trinity

    ★½

    One stars is for the vampire pomeranian, who rules and should have had a spin-off. RIP.

  • Money Plane

    Money Plane

    ★½

    Kelsey Grammar plays the role of Darius Emmanuel The Rumble” Grouch III like he’s a neutered lion on steroids — give him the Razzie, Grammy, and Oscar.

  • Porno

    Porno

    ★★★½

    Better as a treatise on temptation and religion than an out and out horror film, PORNO is still a worthy watch due to fine performances and it’s clear-eyed look at how art of all kinds becomes transgressive.

  • Extra Ordinary

    Extra Ordinary

    ★★★½

    Solid top to bottom but actually extraordinary when when Will Forte’s on screen. Give me the Christian Winter prequel immediately.

  • Lost Girls

    Lost Girls

    ★★★

    Lost Girls wants to anger and frustrate you. That’s a hard sell in already frustrating times, and yet: I didn’t mind spending two plus hours with it. Liz Garbus drama is an anti-police procedural — one which exposes how biases can form the foundations of fact-collecting — and it’s scathing indictment of the “dead girl” drama is worthy and necessary viewing.

     Is it entirely successful? No, not so either. Lost Girls
     mislays a crucial plot thread, sending its themes off…

  • The Lodge

    The Lodge

    ★★

    This review may contain spoilers. I can handle the truth.

    THE LODGE plays like its creators were rendered irate by THE SHACK and so made a horror film about God killing everything.

    If only it was good 🤷🏼‍♂️

  • Underwater

    Underwater

    ★★★

    Pity Underwater, friends, for it is fighting a losing battle from the get-go: it’s built from parts that any person over 30’ is like to recognize; it endears us to its actors more than characters. Which means for many people it’s derivative and thinly sketched at best. That’s a valid take on Underwater.

    And: there’s is a 10 year old who’s sneaking into Underwater — who barely knows K Stew or Vincnt Cassell or even Alien — who will quickly get bodied by…

  • Extreme Job

    Extreme Job

    ★★★½

    Seven Thoughts About Extreme Job

    1) It’s reductive to compare Extreme Job to Edgar Wright’s Hot Fuzz but, fuck it, let’s get reductive: Extreme Job’s a close cousin of Hot Fuzz.

    2) While both Job and Fuzz traffic in meta-aware action tropes, only Job explores the highs of elevated skillsets and the cruelty of prodigiousness. Specifically: if “elevation” is defined as “a dancer's or an athlete's leap and seeming suspension in the air” (it is, I just checked), it’s inferable that the…