Randall Colburn

There’s a fundamental problem here, one of conception, not of execution.

It’s vital in the sense that there aren’t enough third-party chronicles of this undeniably potent force in the online world, but it’s sloppy in how safe it feels — it’s easy to imagine the stars agreeing to speak so long as certain topics were either breezed over or avoided entirely.

There’s a rich, hilarious novelty to the film’s juxtaposition of glittering pop and ultraviolence, but by virtue of the clear disconnect between story and song, that novelty quickly wears thin.

To watch it is to open a pizza box that’s been jostled a few too many times. Inside, the cheese clings to the cardboard, sauce splashes against the sides, and pepperonis drip with grease. It might be sloppy, but you’ll be damned if it don’t still taste good.

The franchise, however, feels less solid than Washington’s performance. There’s a formulaic quality to it, an aversion to the basics of world-building that gives The Equalizer 2 an outdated feel in a cinematic landscape where more attention is being paid to continuity and myth-making.

How It Ends ends with something of a whimper, leaving us feeling as if a compelling story was undercut by being told through its least interesting characters.

It’s weird, intermittently amusing gobbledygook that should help a drowsy weekday night pass a bit quicker. Unfortunately, mediocrity won’t do much for the Cloverfield brand, which set a high bar for itself with 10 Cloverfield Lane.

As it lurches into its second act, Before I Wake begins slavishly following the beats of its studio horror contemporaries, (mostly) abandoning its nuance for rote investigations into the cause of the phenomena and horror set pieces that defy the previously established logic of the dream manifestations.

Robitel and Whannel are still too bound to the franchise here to make something truly original, but The Last Key will make you grip your armrest, squint your eyes, and prepare for the worst. Sometimes, that’s enough.

Bitch‘s third act is an improvement upon its second, mainly in that the movie allows itself to be weird again.

Though Harrelson’s performance is nothing if not memorable, it lacks dynamism. His tone and cadence, though booming, becomes familiar as the film barrels on, and the plasticine nature of his prosthetics is distracting.... It’s a good performance, but not a layered one.

Happy Death Day is a lot of fun when it allows itself to have fun.

Shimmer Lake’s climax does a fine job of bringing together its disparate parts for a resolution that’s surprising, effective, and logical.

Any sense of mystery or suspense quickly dissipates as the film returns again and again to repetitive and terse exchanges between Claire and Allison, whose revelations aren’t as surprising as they’re probably intended to be.

What saves this head-scratching, relentlessly portentous movie is what also saves the games: the action is on point.

The Monster is worth watching for Kazan and Ballentine.

Neither Bates Jr.’s assured direction nor the strength of the performances can salvage the narrative, which feels overly convoluted and spackled far too much finery.

At its core, it’s a simple and triumphant tale of sisterhood, but with so much ladled on top of it it begins to feel as though it’s grasping for a grandeur it doesn’t need. Sometimes, even the most intense emotions can benefit from a light touch.