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Lean on Pete (2017)
The animal holds a mirror up to the human protagonist...how prone youth can be on the cusp of adulthood, how reckless when desperate or threatened, how vulnerably pure of heart.
You Were Never Really Here (2017)
Ramsay’s limber direction and another phenomenal leading performance by Joaquin Phoenix lend the material an aching sensitivity and an arrhythmic but persistent heartbeat.
A Quiet Place (2018)
There’s plenty...that doesn’t hold up to scrutiny and even more that feels conspicuously derivative. But tell that to your pants as you pee them.
Ready Player One (2018)
Conjures plenty of empty spectacle...but doesn’t underpin it with characters that move beyond the generic or, more crucially, the productively sharp satire that just maybe could have saved this ain’t-it-cool story from itself.
The Death of Stalin (2017)
Tales of the venal, the selfish, and the desperate, lurking--when not preening--in the halls of power.
Tomb Raider (2018)
One can see the wheels turning, literally and figuratively...
A Wrinkle in Time (2018)
Galumphing narrative and flatfooted whimsy...a downright awkward kiddie blockbuster.
Red Sparrow (2018)
A guy’s fantasy of an empowered woman’s story. She’s smart! She’s capable! She’s sexy! She’s nude! She’s degraded! Wait...
Game Night (2018)
Just manages to sustain its 'is it real or is it a game?' tension through to its climactic twists.
Black Panther (2018)
Boilerplate Marvel, with a sleek, colorful look, cheeky humor, and familiar action beats...But Coogler brings enough to the table for a fresh vision, broadly appealing as well as inspirational in its representation for black audiences and women.
Peter Rabbit (2018)
This Peter is...the Ferris Bueller of rabbits. As such, many will love him, and many will find his zany wisecracks, blatant selfishness, and borderline amorality repulsive.
Three Billboards Outside Ebbing, Missouri (2017)
McDonagh’s admirable shading of ostensible heroes and villains backfires as character inconsistency...Nevertheless,
Three Billboards
wickedly entertains and provokes...
Hostiles (2017)
A contrived but effective parable of the American West, its painful legacy, and small measures of redemption...But our focus frustratingly remains on the white people and Blocker’s struggle to reach empathy...
Phantom Thread (2017)
Work[s] out some timely issues of the runaway male ego, the dubious excuse of great art for grotesque personality, and the shock and awe attendant to the select few who can see through genius and, for better or for worse, cut to the quick.
The Post (2017)
The heroic journalism depicted in
The
Post
could hardly be more timely, it’s true, but Spielberg’s take rarely achieves dramatic traction.
Fail State (2018)
Takes a cogent look at the issues, making comprehensible the complex history of American higher education, the government's shifting role in supporting it, and the increasingly corporate exploitation of the American-dreaming underclass.
Molly's Game (2017)
Sorkin’s flair for whip-crack dialogue, structural shenanigans, and character chemistry remains a winningly shameless three-ring circus for the screen, and his thoroughly excellent ensemble help to distract from his infamous artifice.
All the Money in the World (2017)
Much in it is invented or misrepresented...more easily forgiveable if the film had any subtlety or depth, but this ain’t that kind of party: it’s a wannabe thriller that unnecessarily stretches its running time along with the truth.
Call Me by Your Name (2017)
Guadagnino has coaxed from his cast a film unmatched this year for lifelike rhythms and attention to human behavior.
Star Wars: The Last Jedi (2017)
[SPOILER-FREE REVIEW:] Johnson sticks with the Star Wars house style and seems pleased to have the opportunity to inspire children with this story of overcoming inner conflict to become one’s best self, the key ingredient being hope.
The Disaster Artist (2017)
Like the hilariously inept melodrama of
The Room
itself, Tommy Wiseau offers Franco a gold mine of oddities.
Lady Bird (2017)
Lady Bird
’s unvarnished, unglamorized high-school drama has the quirky humor one expects from Gerwig...Ultimately, it’s a mother-daughter love story, replete with the tribulations of painful individuation.
Logan Lucky (2017)
Soderbergh’s here to have fun, and his mood is contagious.
Coco (2017)
A harmonious set of themes, about vocation and ambition...the role of family...and the meanings of life and death.
Justice League (2017)
These comic-book cinematic universes...train audiences to see the forest for the trees...Enjoy the trees. For the forest is a tad gnarly.
Atomic Blonde (2017)
Isn’t about anything more than the spy game and how to make it to the end of the board...Then, too, there is Theron, whose kind of un-performance in repose keeps breaking out into ferocious fighting that suggests a feral Jackie Chan.
Daddy's Home Two (2017)
Only insurance premiums can say whether we’re in for a
Daddy’s Home 3
that adds Dick Van Dyke as Lithgow’s dad and Clint Eastwood as Gibson’s dad.
Thor Ragnarok (2017)
A rollicking comedy...Waititi revs up this vehicle for a wild ride...
Wonderstruck (2017)
On balance,
Wonderstruck
should capture the imaginations of precocious kids up for something a little deeper than usual.
Only the Brave (2017)
An old-fashioned action-adventure story with star performances, given a sacred tinge by its real-life roots.
Columbus (2017)
Kogonada’s cleverly integrated use of the architecture, beautifully framed from visual and narrative standpoints, lends his freshman feature a sense of modernist mastery...
Blade Runner 2049 (2017)
A strange and beautiful beast indeed,
Blade Runner 2049
is a science-fiction epic for adults, somehow released in 2017...
Blade Runner 2049
dreams big.
American Made (2017)
Seal’s story is a fascinating one worth investigating...As played by Cruise, he’s like Maverick gone to seed.
Stronger (2017)
Catches one off guard with the characters’ open-hearted gestures under duress...feels as if it single-handedly restores humanity to the movies.
American Assassin (2017)
Has a mindset trapped in the 1980s, when Chuck Norris ruled the roost of disposable shoot-em-ups. This repulsive macho fantasy seems expressly designed to appeal to the readers of
Soldier of Fortune
Magazine.
The Mummy (2017)
As a story to speak to our hearts and minds, it's an utter failure, and perhaps so too even as a disposable corporate product.
It (2017)
Strong performances and production carry the day. This pop culture psychodrama still works, and linked up to its pending sequel should add up to a bit more than the sum of its parts.
Certain Women (2016)
Reichardt in no way pushes her material, instead giving the viewer the space to live in this space with the characters, observe them and listen to them, and then draw one’s own conclusions about thematic import.
The Trip to Spain (2017)
If the dish has lost its pizazz, it remains comfort food for comedy connoisseurs.
Annabelle: Creation (2017)
On paper,
Annabelle: Creation
lays out lazy character development and logic, but on screen, it gets the job done more often than not as an unpretentious talk-back-to-the-screen audience picture.
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