Cherry is, at least, three different movies – a romantic drama, a war movie, and a crime thriller. Despite how off-kilter it is as a genre-bender, it may have worked had the filmmakers been interested in the story or characters. Instead, Cherry is an indulgent vehicle for its filmmakers to flaunt their bold experimental choices and test their boundless clout.
Midsommar, the sophomore feature from Ari Aster (Hereditary), is a head-trip on multiple levels and a full flex of what cinema is capable of.
By: Jolie Featherstone “I forgot I was making a horror movie.”
It is probably inaccurate to call Ben Wheatley’s Free Fire “a comedy of errors” given that term’s context, but perhaps the term “comedy of injuries” could be coined to describe this cross between cruelty and the absurd in a way that only Wheatley can do.