I was surprised at just how much of the run time I spent watching a still room from the edge of my seat. It strips the idea of an invisible person of all the goofy novelty the previous adaptations were full of and instills it with horror.
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The set up is ripe for scares, but "Come To Daddy" knows exactly where you think it's going, and takes the hardest left turns possible to varying degrees of success.
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Our ratings for the movies released in 2019 that we never got around to reviewing or alternative ratings for film’s already reviewed.
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While I can concede that the technical aspects of this film are a marvel, the one-take approach is ironically enough the biggest detractor from this claim for me.
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Despite a seemingly glaring visual problem, Cats managed to get made and released without anyone seriously questioning that it looked like a feline-inspired nightmare fever dream.
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The Safdie brothers are at the forefront in turning anxiety into a film genre, and Uncut Gems might be their finest example to date.
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The staged unveiling of the pope’s mystique is what makes The Two Popes such an engaging viewing, even if it is ultimately an uneven one.
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The Star Wars train has left the station, if you’re not on board you will be forcibly bound, gagged, and dragged behind. At least, that’s the feeling that The Rise of Skywalker gives you; once the movies starts there’s no stopping the avalanche.
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Director Trey Edward Shults continues a trend of unpredictability with his latest feature-length effort, Waves, an Altman-esque story of a Miami family facing a steadily increasing spider web of problems.
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While seeing the ever-lovable Tom Hanks as the forever lovable Fred Rogers is certainly a treat that’ll warm even the coldest of cynics, it never really comes together…
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Director Rian Johnson has managed to avoid almost all the potential pitfalls of the genre and create one of the most entertaining and original murder mystery films in years.
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With the Irishman, you get a lot of Scorsese’s trademarks. Fans of Goodfellas or Casino will have a lot to love about the energy and presentation of this nearly four hour road trip through time.
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There is something so inspiring and simultaneously infuriating about Gaspar Noe’s “throw everything at the wall” approach to filmmaking, you are guaranteed to be at the very least intrigued by them.
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The four hours are about the quiet existential melancholy that seeps into your bones as the cinematic day wears on and your knowledge of the characters deepens.
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What could have been another entry in the tired genre of “man achieves success only to lose sight of who he actually is” is pleasantly tossed aside in favor of a story that is enriched with a sense of community.
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From minute one, Doctor Sleep is a Steven King adaptation that also pays considerable homage to Stanley Kubrick. The whole film feels like a weird blend of the two.
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Waititi has always been a director that has managed to pull off blending dark subject matter with a childlike visual sensibility, but none of his previous films do so to the extent that JoJo Rabbit does
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First Love has all the best and worst of Takashi Miike’s directorial tendencies. The film showcases the maturity in his style but also its limitations.
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Eggers gleefully puts his characters under a vice, twisting their reality and the audience’s perception of events. The Lighthouse with all of its unique weirdness is a cinematic symphony.
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Joon-Ho’s mastery over the language of film, both visual and literary, have proven him to be capable of making even the most absurd combinations work.
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