Daniel Schindel

Despite its worthy plot and the wealth of great footage with which it had to work, Holy Hell is a mess.

[Schoenaerts] and Kruger can’t sell the low-key attraction that develops between their characters, which turns a lot of the stakes — and the story’s resolution — into absolute shrugs. This is what Disorder ultimately adds up to.

My Big Fat Greek Wedding 2 commits the perennial sequel mistake of indulging the breakout characters, letting them run rampant over everything in the process. Giving everyone the spotlight only diffuses the heart.

In porn, everything besides the sex scenes are just setups for the sex scenes. Here, everything feels like it’s only there to set up lavish parties or high-class adventures.

It’s not wretched; just boring. A faintly damned improvement, but an improvement nonetheless.

The Comedian might have been salvageable if the namesake character were, you know, funny. But not only is this not the case, the film makes Jackie’s stage presence even more grating by insisting with every frame that he’s brilliant.

Even if the conceit is faulty, that doesn’t mean it’s impossible for this film to rework this material into an intelligent riff on the play. Unfortunately, it still doesn’t.

The filmmakers behind Leap! seemingly can’t picture a children’s movie without a cavalcade of unnecessary action scenes and fart jokes—and not good fart jokes at that. The result is a movie allegedly about ballet with weirdly few scenes featuring actual dancing.

Florence Foster Jenkins is nice, but only in the way that any undeservedly wealthy person considers themselves “nice” when they give a pittance to charity while sheltering as much as possible from the IRS and spending extravagantly on themselves.

Make no mistake: Pott and Coleman’s stories are unquestionably worth sharing. But presenting them in a routine march of interviews spiced up solely with occasional animated reenactments does not do those stories justice.

This iteration of Ghost in the Shell remixes elements from the various comics, films, and TV series that have come before, but offers nothing new or interesting in doing so.

Gold’s twist carries no weight because it comes from the movie being told from precisely the wrong point of view.

The special effects are worse than I thought modern studio filmmaking allowed for. Actors such as Robert Forster and Melissa Leo reprise their roles from the first film with maybe half-a-dozen lines apiece. Were it not for the presence of said actors, this could easily pass for a DTV spin-off.

Beirut has zero character as a setting, reduced to a generic backdrop of rubble and sand. It’s not a real place with a distinct culture in a time and political situation which any writer worth their salt could cull mountains of rich material from – it’s Scarymuslimabad, capital of Clicheistan.

It’s difficult to think of a biopic that so thoroughly embarrasses its subject in the process of attempting to honor them the way Churchill does.