Reviews

There’s pathos, drama and mystery here. Could the Paragons be the nascent Justice League?

Steven Moffat and Mark Gatiss adapt another classic work, this time Bram Stoker's Dracula.

Did I enjoy Star Wars: The Rise of Skywalker? Yes. Did I use the RunPee App to take a bathroom break? No.

So yeah. I enjoyed Star Wars: The Rise of Skywalker. It's big and loud and dumb as hell.

J.J. Abrams does not understand Star Wars.

Star Wars will always be Star Wars but it can also be much more if it wanted to be.

Knives Out is an incredibly fun movie to watch fly by for its extended 130-minute running time.

Night Work is a fun, ribald little movie that has its own sense of charm, from its budgetary limitations to the expansive possibilities of its strange world.

All in all, Fast & Furious Presents: Hobbs and Shaw is the epitome of a popcorn movie.

I’m here to report that Dark Fate is the best of the sequels, a satisfying mix of action, character, and world building, but I’m also ready to let this series go away into its own dark fate.

Jay and Silent Bob Reboot is made strictly for the fans, and if you count yourself among that throng, you’ll likely find enough to justify a viewing, though it may also be one of diminished returns.

The Lighthouse feels exactly like somebody meticulously melded an episode of The Twilight Zone with an episode of Alfred Hitchcock Presents.

Parasite is an effortlessly impressive movie that blends tones, insights, and entertainment to create one of the more unique and pleasing film experiences of the year.

Anna and the Apocalypse is the teen Christmas musical zombie horror comedy that you didn’t know you needed in your life.

Gemini Man feels like a dozen screenplays stitched together with every other third scene missing.

Joker is a movie and should not be held responsible for the actions of others and what they may read from the film.

Travolta’s wince-inducing go-for-broke, almost Nicolas Cage-ian performance is the best reason to watch The Fanatic.

Ad Astra is more art film than thriller, more father-son reclamation than sci-fi, and more a drifting homage to Apocalypse Now in Space than something that can stand on its own merits.

At the center of the collection is Calla (2019), a wonderfully written and executed horror film named for Cala, a flower representing death in Venezuelan culture.

The Dead Don’t Die doesn’t really succeed as a Jarmusch film or as a zombie film because it refuses to embrace either approach.