Richard Whittaker

Sinister and hilarious, psychedelic yet grounded, absurdist while still gripping, In the Earth will take root in you.

The episodic nature of Beau's misadventures serves as both distraction and bloat, a metaphorical cavalcade that lacks the acerbic agility of many of its predecessor.

Brimming with cornball humor and overt sentimentality, there’s something compelling within the film’s unyielding commitment to its own idiosyncrasies, not to mention the emotionally cogent backbone.

The narrative is too flat, too drily filmed by César-nominated cinematographer Jeanne Lapoirie (8 Women) to induce much emotion or debate about Anne’s hypocrisy and abuse of power.

Unabashedly warped and horny, Morgan knows exactly when to set off the depth charges lurking in the waters of Bone Lake, making its big, filthy reveal feel like the inevitable result of the characters’ urges.

A loving, gory, ribald slasher flick that is both serious about the genre and gruesomely ridiculous.

The Voice of Hind Rajab is not just a reminder of the crimes against humanity being committed in Gaza. It’s a reminder that the constant smears against human rights organizations and aid agencies are vile slanders by people who want this to happen again and again and again.

It's easy to see this coming out in 1998 with Ashley Judd as Rebecca, and Carey Elwes under Victor's tattooed skin. However, this midbudget drama doesn't have quite that star power, and it definitely lacks the visual flair of that era's overdriven and weird procedurals.

Art historian Thomas Negovan has excavated countless hours of rushes and raw footage from the archives to assemble a new film, hewing as close as possible to Vidal’s original story. In doing so, the debauchery, majesty, and brutality are finally revealed in all their unhinged glory.

Burton and his writing team waste the opportunity of a sequel to fix the errors of the past, and instead double down on the most problematic elements of the original.

Maybe some grasp of the dynamics of the modern publishing industry would have added some grit, making it more than it is: a formulaic and forgettable pulpy beach read.

If you weren't afraid of heights before, then Fall will give you the fear. Welcome to vertigo hell, mainly due to the work of cinematographer MacGregor.

What I Want You Back really has going for it is Slate and Day. The set-up may be a Ryan deep cut, but their awkward energy, and shared ability to scattershot subtle one-liners without them getting buried by the sillier antics, harks back to another of her classics: When Harry Met Sally.

Even its flaws and occasional moments of repetition between authors cannot detract from this fascinating collection about one of the great filmmakers of our era.

The seated dance between Johnson and Penn is witty, earnest, honest, and overflowing with kindness, making Daddio a remarkable story of two strangers opening up to each other.

The Cursed may be a shaggy tale in places, but its bite is ultimately deep.

Like code that works but inefficiently, the length is both a feature and a bug. Mercifully, Ascher's most visually original movie to date keeps those TED lecture seat-shuffling blues at bay.

Somehow, there’s more than a little bit of fun to be had in this oddball little throwback, filled with mischievous glee and a sullied heart of gold.

There are so many underdeveloped themes that it’s not hard to see what Singer was trying to achieve, and how short he falls.

No one else could have made this version of The Monkey because of all those indefinable, immutable yet ethereal elements that make Perkins’ movies not just popcorn flicks but gourmet popcorn.

We Bury the Dead is already too slow and mournful to pass as popcorn entertainment, and it’s rarely quite thoughtful enough to bring its art house horror aspirations to life.

At the end of the day, Brewer reminds us, it’s all about hands touching hands.

If future films deliver similar spectacle and true, epic filmmaking, then this lengthy sequel can afford to be a prelude.

Broad, sharp, hysterical, witty, and perfect for everyone who likes their Valentine’s hearts with candy or carved, still beating out of their chest.

Frenetic as Babylon is, Chazelle himself remains clear-eyed. His view of Hollywood is romantic but not romanticized, a flaws-and-all look back at a party that was bound to end and be completely incapable of handling the crash. But oh, what a swell party it is.

Léger and Robichaud’s update is mostly successful in filtering the intent of the original for modern sensibilities, not least in the plentiful sex scenes.

Spoiler Alert is at its best when it's not afraid to be mawkish, sentimental, soppy, honest, and downright charming.

Black Phone 2 may be a power ballad to the original’s minor chord metal, but it still rocks.