Jake Coyle

Select another critic »
The Associated Press
For 402 reviews, this critic has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

Jake Coyle's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Licorice Pizza
Lowest review score: 25 Dolittle
Score distribution:
  1. Positive: 302 out of 402
  2. Mixed: 78 out of 402
  3. Negative: 22 out of 402
402 movie reviews
view
per page
    • 89 Metascore
    • 100 Jake Coyle
    Dick Johnson Is Dead
    I’m sure for Johnson, Dick Johnson Is Dead will one day be a heaven-sent reservoir for remembering her father. But its larger gift is in spurring us all to meet mortality with humor and honesty, and appreciate loved ones while they’re here.
    • 78 Metascore
    • 75 Jake Coyle
    Kajillionaire
    The whimsical, unpredictable artistry of “Kajillionaire” turns out to be no con, at all.
    • 55 Metascore
    • 50 Jake Coyle
    The Devil All the Time
    The craft and thick Gothic atmosphere of The Devil all the Time is impressive. The movie has such fine-wrought texture that it holds you in its cold grasp. But it’s also somewhat oppressive.
    • 78 Metascore
    • 75 Jake Coyle
    i'm thinking of ending things
    I’m Thinking of Ending Things nearly sustains something beautiful and sad that blends consciousness and time.
    • 77 Metascore
    • 63 Jake Coyle
    The Personal History of David Copperfield
    The Personal History of David Copperfield is one of the more lively, colorful and whimsical Victorian costume dramas you’re likely to see. It’s a movie flowing with fresh air, which isn’t something normally said of adaptations of 700-something-page books.
    • 69 Metascore
    • 75 Jake Coyle
    Tenet
    Tenet lacks the elegant mastery of “Dunkirk” or the cosmic soulfulness of “Interstellar,” but it has a darkly grand geometry.
    • 67 Metascore
    • 50 Jake Coyle
    Tesla
    While its ideas are often intriguing, the movie feels like high-concept scaffolding that only thinly conceals it hollowness. It’s a Tesla without electricity.
    • 58 Metascore
    • 63 Jake Coyle
    The One and Only Ivan
    The real story of Ivan is more interesting even if it’s probably too dispiriting and shameful for a Disney movie. At the same time there’s some awkwardness in relating such an animal-rights tale with fart jokes and a celebrity voice ensemble.
    • 59 Metascore
    • 63 Jake Coyle
    The Secret Garden
    It’s sluggish at times and too withdrawn for such a vibrant tale. But it stays nevertheless in tune with the spirit of Burnett’s book, and by the time it reaches its late crescendo, this “Secret Garden” blooms nevertheless.
    • 73 Metascore
    • 88 Jake Coyle
    The Fight
    What most vividly comes across in The Fight is the never-ending nature of freedom and democracy.
    • 56 Metascore
    • 63 Jake Coyle
    Radioactive
    With some notable exceptions, this is a traditional treatment of an extraordinary life, complete with deathbed scenes that bookend the film and frequent lines, in Jack Thorne’s screenplay, in which Curie single-mindedly speaks of scientific progress less like a person than a grade-school teaching tool.
    • 70 Metascore
    • 75 Jake Coyle
    The Old Guard
    The Old Guard, while in many ways typical, is wonderfully unconventional in all kinds of less obvious ways.
    • 85 Metascore
    • 75 Jake Coyle
    Athlete A
    The documentary, directed by Bonni Cohen and Jon Shenk, is vigilant in widening is lens to capture the broader problems at USA Gymnastics.
    • 31 Metascore
    • 38 Jake Coyle
    Artemis Fowl
    For those who have spent the last few months hungering for a big-spectacle mess (they are, after all, a feature of summer moviegoering), now you can take in a big-budget flop from the comfort of your own home.
    • 76 Metascore
    • 75 Jake Coyle
    Shirley
    There are few more daring actors around right now than Moss, and “Shirley” may be her best performance yet. She’s brutally cutting but the pain of every slight ripples across her face.
    • 84 Metascore
    • 75 Jake Coyle
    The Vast of Night
    The Vast of Night is, in a slinky way, about escaping small-town small-mindedness.
    • 69 Metascore
    • 75 Jake Coyle
    The Trip to Greece
    Watching The Trip to Greece at a time when such travel is impossible has only heightened the considerable pleasures of these movies (and made the food all the more appetizing). But mostly it’s reinforced the simple delight of sitting table-side with Coogan and Brydon. For all their trivial sparring, they are exceedingly good company.
    • 79 Metascore
    • 75 Jake Coyle
    The Painter and the Thief
    Through twists and turns, The Painter and the Thief depicts not just the two-way transactional relationship between artist and subject, but the shared pain and mutual rehabilitation that can inspire and surround art making.
    • 43 Metascore
    • 38 Jake Coyle
    Scoob!
    "Scooby Doo” was never the most unpredictable of shows but Scoob! has merely swapped the original’s blueprint for that of a superhero movie. You’ll be left mournfully munching a bag of Scooby Snacks while wondering, “Scooby-Dooby-Doo, where are you?”
    • 73 Metascore
    • 75 Jake Coyle
    Spaceship Earth
    Spaceship Earth, with a glowing score by Owen Pallett, doesn’t cast judgment on most of its subjects. It’s content to go along for the ride, marveling at all the surrealism. You’d say the story was out of this world if it wasn’t so much of it.
    • 79 Metascore
    • 88 Jake Coyle
    Bad Education
    It’s Tassone’s perspective that Finley largely keeps to, which — if you don’t know the true story — lets Bad Education unspool if not surprisingly at least captivatingly.
    • 74 Metascore
    • 63 Jake Coyle
    Beastie Boys Story
    If the framework is less inspired, the story remains grand.
    • 65 Metascore
    • 50 Jake Coyle
    Tigertail
    Tigertail comes off more as an idea of an arthouse movie than one propelled by its own volition.
    • 73 Metascore
    • 75 Jake Coyle
    Slay the Dragon
    May not be the most heartening portrait of our political system. But it’s a vital one and it provides reasons for optimism, too.
    • 62 Metascore
    • 63 Jake Coyle
    Uncorked
    The pleasures of Uncorked are in how it gently eludes stereotype and brings a rich sense of texture to even its smaller moments.
    • 44 Metascore
    • 50 Jake Coyle
    Bloodshot
    Bloodshot is just smart enough to be more than trash, and just trashy enough to be less than smart. It will do fine if you’re looking for a lesser simulation of a good movie.
    • 90 Metascore
    • 100 Jake Coyle
    First Cow
    The joys of First Cow are many. The thoughtful, unshowy textures of its clothes and surroundings. The fabulous chemistry of its two leads. The softly stirring guitar of William Tyler’s score. All of these details add up to a wholly original western, one with its own rhythms, ideas and iconography.
    • 61 Metascore
    • 75 Jake Coyle
    Onward
    Onward makes the most of its strange assemblage to tell a sweet and moving story — enough so to leave you yet again shaking your head at Pixar’s magic act.
    • 72 Metascore
    • 63 Jake Coyle
    The Invisible Man
    Whannell has the talent and cunning to turn The Invisible Man into a chilling and well-crafted B-movie. But if you’re looking for anything more than that, you’ll probably come up empty.
    • 48 Metascore
    • 50 Jake Coyle
    The Call of the Wild
    There is little here, amid the high-tech photorealistic animations, that would satisfy London’s concept of “wild.”
    • 51 Metascore
    • 50 Jake Coyle
    The Gentlemen
    Hunnam’s presence, alone, keeps the movie grounded. But the movie time and time again exalts the gallantry of its gentlemen heroes at the expense of those unlike them. It gives this glass of Gritchie’s English Lore a bitter taste.
    • 26 Metascore
    • 25 Jake Coyle
    Dolittle
    Perhaps the biggest disappointment of Dolittle isn’t the incoherent story line, the suffocating CGI or the unfunny stable of celebrity-voiced creatures. It’s that Downey’s personality doesn’t come through at all, either a victim of the surrounding mess or a party to it.
    • 78 Metascore
    • 75 Jake Coyle
    Les Misérables
    Ly’s film excels in its lively verisimilitude, its terrific cast and its intensity. Les Miserables is a powder keg, always at risk of detonating.
    • 53 Metascore
    • 50 Jake Coyle
    Star Wars: Episode IX - The Rise of Skywalker
    For a movie predicated on satisfying fans, The Rise of Skywalker is a distinctly unsatisfying conclusion to what had been an imperfect but mostly good few films.
    • 68 Metascore
    • 38 Jake Coyle
    Richard Jewell
    If Eastwood had extended the sensitivity it shows to Jewell to others, it might have been worth something more. Instead, it becomes just what it preaches against: a hatchet job.
    • 64 Metascore
    • 63 Jake Coyle
    Bombshell
    The question, ultimately, is whether Bombshell ought to have spun quite so snappy a movie out of such a story. It does cartwheels to make a vile tale compelling, and it can feel like a parade of starry impressions rather than something genuine.
    • 75 Metascore
    • 75 Jake Coyle
    The Two Popes
    The Two Popes might promulgate an optimistic portrait of the Catholic Church and its leaders. But in these sweetly sincere scenes, you forget Benedict and Bergoglio are pontiff and pontiff-to-be. And the moment of respite from the world’s arguments and divisions feels like a benediction.
    • 82 Metascore
    • 88 Jake Coyle
    Knives Out
    The whodunit turns out not only to still have a few moves left but to be downright acrobatic.
    • 60 Metascore
    • 63 Jake Coyle
    The Aeronauts
    It’s Jones who dominates the film
    • 73 Metascore
    • 75 Jake Coyle
    Dark Waters
    Where Haynes excels is in teasing out the personal and professional connections that mingle throughout.
    • 51 Metascore
    • 63 Jake Coyle
    21 Bridges
    21 Bridges is well crafted enough to pass the time, but anything more than that is a bridge too far.
    • 55 Metascore
    • 63 Jake Coyle
    The Good Liar
    The Good Liar is a kind of film one wants to love. Such old-fashioned genre movies, let alone those starring actors in their 70s and 80s, are hard to find these days. But in trying to take a simple crime set-up and stretch it into a more sweeping tale of vengeance and victimhood, The Good Liar has to make some fairly preposterous moves to get there, and it doesn’t do a very good job of cloaking them.
    • 50 Metascore
    • 50 Jake Coyle
    Last Christmas
    Last Christmas is about as buoyant as leftover eggnog. Clarke’s natural charm comes through — she looks ecstatic to be out of Westeros and playing a less upright character — but such a fleabag-screwup role feels better suited to a more comedic performer.
    • 59 Metascore
    • 38 Jake Coyle
    Doctor Sleep
    All sequels and no originals make us all dull boys.
    • 60 Metascore
    • 63 Jake Coyle
    Motherless Brooklyn
    Motherless Brooklyn is done well enough that you wish it had struck out on its own path, rather than crib from Robert Towne and Roman Polanski. It’s hard to forget it, but that’s “Chinatown.”
    • 43 Metascore
    • 50 Jake Coyle
    Maleficent: Mistress of Evil
    It’s starting to seem like every franchise film, when in search of a story, throws a battle against the wall and hopes something sticks. Not only has this gotten tiresome, but it also sacrifices what we came here for in the first place: Jolie and Pfeiffer glowering at each other.
    • 62 Metascore
    • 50 Jake Coyle
    The King
    It’s a movie best seen less as a historical epic and more as a metaphor for a rising young movie star coming up in a culture he aims to subvert.
    • 59 Metascore
    • 50 Jake Coyle
    Joker
    A calculatedly combustible concoction, designed, like its chaos-creating character, to cause a stir. To provoke and distort. I wish it was as radical as it thinks it is.
    • 61 Metascore
    • 50 Jake Coyle
    Abominable
    Abominable is sweet and simple enough, but its emotionality always feels thin and, like much of the film, paint by numbers.
    • 80 Metascore
    • 75 Jake Coyle
    Ad Astra
    Aside from verging on the one-note, that focus constricts the very linear, very self-contained Ad Astra, a taut but inflexible chamber piece in a genre given to symphony.
    • 58 Metascore
    • 63 Jake Coyle
    It: Chapter Two
    Taking each storyline at a time, all accompanied by flashbacks, gives each character some depth, even as the crowded film — at nearly three-hours long — verges on turning into a clown car. That sheer much-ness is in the spirit of King’s massive book. “Chapter Two” is, for better or worse, a horror carnival.
    • 72 Metascore
    • 75 Jake Coyle
    Brittany Runs A Marathon
    Brittany Runs a Marathon starts comically; its first moments, with Brittany working as an usher at an off-Broadway theater are its funniest. But it grows increasingly earnest. That’s part of the movie’s charm but also what leads it a little off track.
    • 71 Metascore
    • 75 Jake Coyle
    Blinded by the Light
    Blinded by the Light isn’t a new tune, but it’s sung with an infectious passion and it captures something sincere about the globe-spanning, life-changing influence of great pop music.
    • 60 Metascore
    • 75 Jake Coyle
    Good Boys
    Good Boys mines that gulf between childhood and adolescence like few films have before.
    • 61 Metascore
    • 63 Jake Coyle
    Scary Stories to Tell in the Dark
    Even if the material — a haunted scarecrow, a young woman’s vengeful ghost — can feel stale off the page, Øvredal’s filmmaking is fresh and vibrant.
    • 60 Metascore
    • 63 Jake Coyle
    Fast & Furious Presents: Hobbs & Shaw
    Usually, it’s pleasingly aware of its own silliness. But there are blind spots.
    • 84 Metascore
    • 88 Jake Coyle
    Once Upon a Time ... in Hollywood
    Pitt, in particular, appears so utterly self-possessed. It’s a swaggering grade-A movie star performance in a movie that celebrates all that movie stars can accomplish — which, for Tarantino, is anything.
    • 55 Metascore
    • 50 Jake Coyle
    The Lion King
    Jon Favreau’s The Lion King, so abundant with realistic simulations of the natural world, is curiously lifeless.
    • 42 Metascore
    • 50 Jake Coyle
    Stuber
    The movie’s premise is one long Uber ad, but it’s a clever enough buddy comedy setup, and both Nanjiani and Bautista are good comic performers. So what’s missing here?
    • 53 Metascore
    • 63 Jake Coyle
    Annabelle Comes Home
    What makes Annabelle Comes Home rise above its well-trod narrative are the actresses and Dauberman’s sensitive attention to each of them.
    • 38 Metascore
    • 50 Jake Coyle
    Men in Black: International
    The plotting is clunky and haphazard. But when together, Thompson, Hemsworth and Nanjiani turn Men In Black: International into something funny and silly: a pleasant enough lark in formal wear.
    • 82 Metascore
    • 88 Jake Coyle
    The Last Black Man in San Francisco
    It’s all so handsomely shot and deliberately staged that you might at times worry that The Last Black Man in San Francisco is leaning more toward picturesque than profound. But when Talbot’s film rises to its rousing and sensitive climax, the fairy tale falls away and something authentically soulful emerges.
    • 70 Metascore
    • 63 Jake Coyle
    Late Night
    It’s an admirably fun and light movie about more serious issues of representation and equality.
    • 84 Metascore
    • 88 Jake Coyle
    Booksmart
    The insanely winning Booksmart boasts too many breakthroughs to count. There are the two leads, Kaitlyn Dever and Beanie Feldstein, both of whom we’ve seen before but not like this. There is the director, Olivia Wilde, whose debut behind the camera is remarkably assured. And then there is the teen comedy genre, itself, which Booksmart has blown wide open.
    • 69 Metascore
    • 63 Jake Coyle
    Rocketman
    Rocketman is happiest with its feet far off the ground in a dreamy pop splendor, with headlights all along the highway.
    • 73 Metascore
    • 75 Jake Coyle
    John Wick: Chapter 3 - Parabellum
    There is no doubt that these sequences are quite easily, in form and execution, a cut above what most any other action film is currently doing.
    • 73 Metascore
    • 63 Jake Coyle
    The Biggest Little Farm
    The Biggest Little Farm can at times feel like a larger, better-produced version of the kind of viral video that spreads on Facebook, equal parts uplifting and self-congratulating. It’s a self-contained film about a self-contained paradise.
    • 78 Metascore
    • 75 Jake Coyle
    Avengers: Endgame
    Generous in humor, spirit and sentimentality, Anthony and Joe Russo's Endgame is a surprisingly full feast of blockbuster-making that, through some time-traveling magic, looks back nostalgically at Marvel's decade of world domination. This is the Marvel machine working at high gear, in full control of its myth-making powers and uncovering more emotion in its fictional cosmos than ever before.
    • 63 Metascore
    • 50 Jake Coyle
    Someone Great
    Someone Great has not exactly rewritten the rom-com rule book. Where it distinguishes itself is in the fresh faces of it cast (the rom-com is not known as the most diverse of genres) and in focusing on the hard realities of breakup rather than the fairytale of falling in love.
    • 49 Metascore
    • 63 Jake Coyle
    Little
    The pacing is sluggish when it should be quickening, and nothing in how Little turns out will surprise anyone. Yet the trio of Hall, Rae and Martin makes Little a consistently pleasant experience.
    • 57 Metascore
    • 50 Jake Coyle
    Pet Sematary
    It’s not plot deviations from King’s novel that hamper Pet Sematary. It’s that, from early on, Kölsch and Widmyer, rely less on the detailed accumulation of atmosphere that King built his tale on, than jump cuts and music cues to build suspense. It puts Pet Sematary on a more familiar genre track.
    • 94 Metascore
    • 88 Jake Coyle
    Amazing Grace
    Part of the fun of Amazing Grace is watching not just those in the thrall of Franklin (Mick Jagger can be seen bopping in the back of the church) but witnessing the awe Franklin evokes.
    • 51 Metascore
    • 75 Jake Coyle
    Dumbo
    Burton’s Dumbo, while inevitably lacking much of the magic of the original, has charms and melancholies of its own, starting, naturally, with the elephant in the room. Of all the CGI make-overs, this Dumbo is the most textured, sweetest and most soulful of creatures.
    • 81 Metascore
    • 75 Jake Coyle
    Us
    In Us, Peele has produced a terrifying artifact: a sinister ballet of doppelgangers and inversions that makes flesh the unseen underbelly lurking beneath every sunny American dream and behind every contented nuclear family. It’s a scissor-sharp rebuke to anyone who’s ever held hands and sang “Kumbaya.”
    • 61 Metascore
    • 63 Jake Coyle
    Triple Frontier
    Triple Frontier has the good sense to take a macho, Expendables-like set-up and turn it inward. It just doesn’t go far enough.
    • 78 Metascore
    • 75 Jake Coyle
    Gloria Bell
    Gloria Bell isn’t a dour midlife character study but a warmly affectionate one, in large part due to Moore’s radiant, lived-in performance as a woman committed to self-renewal.
    • 88 Metascore
    • 88 Jake Coyle
    Apollo 11
    Apollo 11 might not tell you anything you don’t already know about the moon landing. But it will make you feel it, and see it, anew.
    • 71 Metascore
    • 63 Jake Coyle
    How to Train Your Dragon: The Hidden World
    Written and directed by series veteran Dean DeBlois, “The Hidden World” may not overwhelm in its necessity.... There are two compelling parts of “The Hidden World” that validate it.
    • 78 Metascore
    • 75 Jake Coyle
    High Flying Bird
    High Flying Bird is a heady movie, full of political thought about sport, entertainment, race and power. Rather than float on production value, it sustains itself on the tension of ideas, exchanged rapid-fire in gleaming office towers.
    • 68 Metascore
    • 75 Jake Coyle
    Fighting with My Family
    Pugh never looks quite at ease in the ring in Fighting With My Family, but her performance is so layered with ambition and self-doubt that the film exceeds its familiar framework.
    • 61 Metascore
    • 75 Jake Coyle
    Velvet Buzzsaw
    Velvet Buzzsaw doesn’t lead anywhere inward; it becomes just a litany of (exquisite) death scenes for art-world caricatures. Still, what caricatures they are.
    • 62 Metascore
    • 75 Jake Coyle
    Destroyer
    While Destroyer can be overwrought and mechanical, it’s an often gripping, well-crafted crime drama with distinction of its own in the genre, an almost always male-dominated one.
    • 58 Metascore
    • 75 Jake Coyle
    The Mule
    As The Mule ambles toward its conclusion, it draws closer to Stone, and maybe to Eastwood’s legacy, too.
    • 90 Metascore
    • 88 Jake Coyle
    Cold War
    It’s Pawlikowski second-straight masterwork, only one with a critical if seldom-seen error. His movie is too short.
    • 55 Metascore
    • 50 Jake Coyle
    Aquaman
    To both the movie’s benefit and detriment, the seas here are choppier than in the predictably (and sometimes boringly) smooth sailing of a Marvel movie. But the bright spots (Momoa, that octopus) can be difficult to really relish amid the oceans of exposition and a typically pulverizing, overelaborate screenplay.
    • 91 Metascore
    • 88 Jake Coyle
    The Favourite
    Much of The Favourite is caustically clever but it’s Colman who elevates it to something magnificent.
    • 71 Metascore
    • 63 Jake Coyle
    Ralph Breaks the Internet
    The movie isn’t always quite up to the task. It would be better if it went further and wrestled more with the online world than used it as another bits and bytes background. Really, it doesn’t quite live up to the title. Ralph could have done more damage.
    • 52 Metascore
    • 63 Jake Coyle
    Fantastic Beasts: The Crimes of Grindelwald
    The Crimes of Grindelwald is often dazzling, occasionally wondrous and always atmospheric. But is also a bit of a mess. Even magic bags can be overweight.
    • 43 Metascore
    • 50 Jake Coyle
    The Girl in the Spider's Web
    The greatest tension in Larsson’s “Millennium” series is how Salander so bristles with unease in the world, even while she expertly manipulates everything in it. No such conflict is found in The Girl in the Spider’s Web, a commonplace thriller for an uncommon heroine.
    • 66 Metascore
    • 50 Jake Coyle
    Mid90s
    A pair of other recent films — “Minding the Gap,” ″Skate Kitchen” — better explored the camaraderie and freedom of skater culture. But there are glimpses here of a more radiant, lyrical film.
    • 91 Metascore
    • 88 Jake Coyle
    Burning
    Like Haemi’s melancholy dance in the half-light, Lee has beautifully, wrenchingly summoned an unshakeable sense of disquiet.
    • 49 Metascore
    • 50 Jake Coyle
    Bohemian Rhapsody
    The only time Bohemian Rhapsody works is when it finally retreats from not just the standard biopic narrative but from storytelling altogether.
    • 87 Metascore
    • 88 Jake Coyle
    Can You Ever Forgive Me?
    Can You Ever Forgive Me? sings best — or rather, grumbles spectacularly — when McCarthy and Grant are together. They are kindred misfits and malcontents happy for each other’s company.
    • 67 Metascore
    • 75 Jake Coyle
    Halloween
    While Green’s Halloween, which he penned with Danny McBride and Jeff Fradley, has faithfully adopted much of what so resonated in Carpenter’s genre-creating film — the stoic killer, the gruesome executions, the suburban nightmares — what makes his Halloween such a thrill is how it deviates from its long-ago predecessor.
    • 60 Metascore
    • 50 Jake Coyle
    Bad Times at the El Royale
    Goddard’s film looks terrific and has all of the — as Hamm’s character would say with exaggerated Southern flare — “accoutrements” of an intoxicating slow-burn thriller, but none of the payoff.
    • 35 Metascore
    • 50 Jake Coyle
    Venom
    The film’s off-kilter schizophrenia gives it a madcap appeal. While Fleischer seems to have a darker, moodier film in mind, Hardy has the good sense to steer Venom in a more over-the-top direction, even if the movie around him can’t catch up.
    • 43 Metascore
    • 50 Jake Coyle
    Night School
    Like countless studio comedies of the past few years, Night School is a straightforward concept that relies too much on the charisma of its performers to carry a weak script.
    • 74 Metascore
    • 63 Jake Coyle
    Colette
    In broad strokes, Westmoreland’s film succeeds as an inspirational period tale so much for today about a woman seizing her independence.
    • 67 Metascore
    • 50 Jake Coyle
    A Simple Favor
    For the big tonal swings in A Simple Favor to work, the characters needed to be more plausibly grounded. Lively and Kendrick’s early scenes ping-pong nicely with odd-couple chemistry, but “A Simple Favor” loses the thread, and never shakes the feeling of a rushed Gillian Flynn knockoff.
    • The Associated Press
      • Posted Sep 13, 2018
    • 46 Metascore
    • 75 Jake Coyle
    The Nun
    What distinguishes The Nun is its silky, sumptuous shadows. Directed by British filmmaker Corin Hardy (“The Hallows”) and shot by Maxime Alexander (who was also cinematographer on the “Conjuring” spinoff “Annabelle: Creation,” The Nun shrouds itself so much in darkness that it at times verges on becoming a nightmarish abstraction. You almost lose sense of what exactly is going on, as Sister Irene falls into a labyrinthine abyss.
Page:

Top Trailers

See all »
See all trailers »