James Berardinelli

The cynic in me believes this movie may have been constructed primarily for end-of-the-year plaudits because there doesn’t seem to be another compelling reason for it to exist.

Violent Night isn’t going to go down as a classic (although it may have cult classic potential) but, despite all the gore and violence and other R-rated material, it’s arguably less offensive than the kind of bilge proliferated by Netflix and Lifetime/Hallmark/etc. in the name of Holiday Cheer. There are certainly worse ways to spend a chilly December evening.

It’s crisply paced and, although there are times when Lady Chatterley’s Lover seems like little more than an intellectually-approved bodice-ripper, it’s an impressively mounted production that looks good and is emotionally true to the characters and their era.

This is one of those grim movies that requires viewers to endure the experience; however, instead of providing a worthwhile payoff, it never varies from the expected trajectory and leaves the viewer as cold at the end as the emotional temperature of the key relationships.

Glass Onion is a late year present from a director who rarely disappoints.

The problem with Bones and All isn’t that it’s disgusting or shocking or transgressive; it’s that it’s a tedious slog.

The Fabelmans isn’t likely to go down as “Great Spielberg” or even “Very Good Spielberg” but it’s a warm, enjoyable plunge into the 1950s and 1960s.

Although not on the same high level as certain other chronicles of investigative journalism – All the Presidents Men (Watergate), Spotlight (Catholic Church sex scandals), and The Post (the Pentagon Papers) – She Said nevertheless offers many of the same qualities that made those earlier movies both compelling and memorable.

A dark satire that skewers privilege and eviscerates the famous, the wealthy, and professional critics (gulp), this film from prolific TV director Mark Mylod takes no prisoners.

n the one hand, The Wonder is a fascinating examination of the war between the sacred and the scientific. On the other hand, despite its strong sense of atmosphere and an intense performance by lead actress Florence Pugh, it’s strangely uninvolving.

Black Panther: Wakanda Forever is an overlong blockbuster in search of an editor. It’s a series of impressive action sequences without a compelling narrative to connect them. It’s a frustrating example of how financial success, not creative impetus, drives the existence of sequels, and it illustrates how unwieldy, contradictory, and overstuffed the MCU has become.

Movie-going isn’t a civics assignment but Till is a sufficiently powerful motion picture that it offers more than a history lesson.

It’s not that there’s anything fundamentally wrong with the film. Some of the individual moments are impactful or effective at evoking nostalgia. But, as they say, the whole is less than the sum of the parts. It feels like a watered-down replica of other, better coming-of-age stories.

Tar isn’t based on a true story but it possesses an emotional and intellectual honesty that makes it seem more real than countless made-for-mass-consumption biopics.

In a streaming series spread out over four or six hours, this might have offered compelling content (and certainly would have seemed less rushed) but, in its current format, it’s more frustrating than satisfying and the facile ending doesn’t hit the right spot.

Although this features high wattage stars, it represents a curiously anachronistic attempt at escapist fare.

Black Adam embraces many of the worst elements and tropes of the superhero genre, resulting in a loud, discordant experience replete with fist-fights, pyrotechnics, and an overdose of CGI.

The tapestry is large enough for the big screen and the overall experience will reward the movie-goer far more than something slick and superficial like Don’t Worry Darling.

Editing is increasingly a lost art and there are times when Triangle of Sadness might have been more effective had it been presented with greater economy. Stylistically, however, that’s Ostlund. We’ve seen it before and doubtlessly we’ll see it again. There’s enough here to make it worth enduring the length.

Although Halloween Ends is a better-than-serviceable slasher film, its old-school approach to horror might feel dated in comparison to the flow of new, more intricately plotted films in Hollywood’s post-pandemic pipeline.

With its whiplash-inducing tonal inconsistencies and sloppily assembled narrative, Amsterdam often feels like a pastiche of (take your pick) Monty Python, The Coen Brothers, or Wes Anderson grafted onto a crime caper/espionage thriller with a strong allegorical message about fascism.

Smile represents the latest in an impressive roster of horror films that have pushed the envelope, daring to go where most cookie-cutter fright-fests of the past decade have avoided treading. This is a dark, uncompromising movie that explores serious subjects like trauma and suicide.

The director may be able to make a compelling case for why he made Blonde the way he did but I can make an equally compelling case for why only a masochist would want to sit through the whole thing.

The pacing is too leisurely and, although Ungar is invested in telling Galvan’s story and fleshing out the man behind the dubious legend, there are times when it feels like he’s bypassing a more intense rendition of the same basic story. Bandit offers more of a diversion than an experience.

Although there are a number of problems with the production, the most glaring is the screenplay. The flaws of the final act are so flagrant that nothing short of a rewrite would have solved them.

Many of the characters might have longer, more fully fleshed-out arcs. But what Prince-Bythewood provides is more than enough for a rousing motion picture filled with well-choreographed battle scenes effectively folded into stories of human interest.

In terms of humor, See How They Run is more amusing than outrageous. Outside of the few instances of slapstick and physical comedy, it is designed to generate smiles (rather than provoke belly laughs). The script is clever and silly at the same time. (That may seem contradictory but it’s not.)

It’s experimental without being off-putting and it uses its 100 minutes to build out a character who was frustratingly incomplete in X.