Michael Talbot-Haynes

Peter Case: A Million Miles Away is an eye-opening portrait of an unsung songwriting powerhouse.

What enriches this film’s frothy concoction is its strong intellectual underpinnings. The questions raised about how social media has increased public persona versus private interactions carry a lot of weight.

While I appreciate getting a cult classic a new coat of 4K to be mean for the stream in fine fashion, Caligula: The Ultimate Cut is not your grandpa’s Caligula.

While this adaptation isn’t in the same league as Gordon’s or Richard Stanley’s Lovecraft work, it does have the hideous glow that horror fans will be drawn to.

This is exactly the kind of movie that improves on subsequent viewings, allowing you to enjoy it more once you accept the narrative on its own terms.

Skincare is the perfect vehicle for Banks’s style, the cinematic equivalent of a Barbie-mobile with 60s Cadillac fins. The audience gets to ride shotgun as she speeds through the flashy, splashy visuals to get to the long tunnels of persecution.

It is well worth sticking your face into Hell Hole, as there is a prize inside the box of wood chips.

It will be interesting to see when the mainstream catches up to the street action of underground slashers. It seems there is an unquenched need for bleeding out there. If you see The Patrolman, you best pull over cause it will cave your head in.

By reducing the impact of addiction to wearing sunglasses indoors and singing badly for Scandinavians, all cautionary benefits of Houston’s tragedy are lost in the stage lights.

The story remains rooted in the outlaw couple on the run subgenre of crime film, but it then metamorphoses into an entirely different type of category. It has humor, but it is not a comedy, as the delivery and intent is coming from somewhere else.

Watch The Deliverance for Close if you haven’t already done so. However, a performance of this caliber in a movie like this is like seeing a BMW 5-series being used to do donuts in a field of manure.

It’s All Gonna Break is a labor of love that simply doesn’t know how to share the devotion with the uninitiated.

Ardent fans of Brazilian music will be able to shift through this. Others, like me, will have difficulty finding the point in all the haze.

So, just know that A Complete Unknown comes off as really boring throughout. None of this will stop Chalamet from shining out with the ultimate movie Dylan. It is a tousled hair masterwork of a performance, completely adapting the essence of Dylan to a folk music Batman.

Caught Stealing is a plodding meander that flagrantly overestimates its appeal.

Throughout Sick, Williamson decisively proves that breaking all the rules sometimes breaks the movie.

With all the talk of how wonderful Christmas pantomimes are in the script, the whole movie seems to shrink away from any tradition that may have made this pitiful excuse of a Santa sneeze enjoyable.

I’m not suggesting Cherry should have a laugh track, because it is not funny at all, despite several attempts at humor.

It makes the mistake of developing the characters less in order to increase the chance of symbolism more.

Kraven The Hunter doesn’t entertain. The only thing it does right is release the hostages after two hours.