The Hunt is more politically charged than expected. It’s also more cartoony than expected. It’s a sardonically funny thriller that points out hypocrisies of right-wing and left-wing beliefs, and favours extravagantly violent finales over mutual understandings. Cynical, yes; but The Hunt is a really ballsy movie for strapping on a blast suit and barrelling through such edgy, non-partisan material.
In The Invisible Man, the titular character – once a spooky Universal Classic Monster – receives a contemporary reimagining by writer/director Leigh Whannell.
Dolittle is a wildly incompetent movie showcasing a battle for the crown to be the film’s silliest performer. So, who wins? Well, I’m afraid, it’s a 20-way tie shared between scenery-chewing in-person performers and aloof voice actors.
The best thing about Hobbs & Shaw, the first feature-length spin-off in the Fast & Furious series, is that anyone can watch it. It does a good job standing on its own legs and distancing itself from its popular franchise; allowing everyone to pick up on the same page. But perhaps in an attempt to give its spin-off series a safe start, Hobbs & Shaw is as typical as action movies come – Hollywood buys…
Jordan Peele follows up his trailblazing, Oscar-winning debut Get Out with Us, a thriller that flips the script on Peele’s trademark storytelling. This time, the social commentary exists behind a creepy and tense home invasion flick.
By: Jolie Featherstone Beautiful European locale? Check. Comedy that runs the gamut from social critique to slapstick? Check. Two smart and savvy women competing for the ultimate con? Check!
By: Jessica Goddard Little is fun – which of course is film-review-speak for “a sloppily written comedy trying its best.” It’s corny, preachy, and meandering, but the energy is good and the lead performances are sharp.
By: Jessica Goddard Jordan Peele’s sophomore effort Us is gripping and suspenseful at first, but loses steam as the story’s loose ends become hard to ignore.
There’s been a modest resurgence of oddball, family-friendly fantasies. We were reminded of it with Tim Burton’s Miss Peregrine’s Home for Peculiar Children, and now with Eli Roth’s The House with a Clock in Its Walls. While I’m more of a fan of how the former balanced all of its supernatural factors, I still really liked and admired Roth’s kooky flick about an uncle teaching his nephew the tricks of the trade to sorcery.