Search Results

MAXXXINE Starring: Mia Goth, Elizabeth Debicki, Moses Sumney, Michelle Monaghan, Bobby Cannavale, Halsey, Lily Collins, Giancarlo Esposito, and Kevin Bacon Director: Ti West ADRIANO It saddens me to say that MaXXXine is far and away the weakest of writer/director Ti West and Mia Goth's trilogy. That's not to say you won't get similar thrills and the gory fun you got in the previous installments. But this film's plot is much more all over the place and kinda gets lost in itself a little too much. Not to mention, while the 80s vibe was fun, it didn't commit quite like the others did, and MaXXXine just simply lacked the teeth of the previous films. But hey, Mia Goth's great still, at least. PAIGE Despite Ti West directing the hell out of MaXXXine , his screenplay is lacking a bit, making the story feel hollow in comparison to its predecessors. However, this does not lessen the fact that Mia Goth is an absolute star, or that the supporting roster also kills it here. The aesthetic and style of this film are to die for, with the giallo-inspired 80s slasher and neo-noir vibes exuding the glitz and glam of Hollywood. Overall, this horror trilogy explored the idea of going to any lengths to achieve fame in a brilliant manner. PRESTON Unlike Pearl , a stand-alone prequel, MaXXXine serves as a direct sequel to X , which requires re-watching if your memory is as fogged as mine because there are lots of flashbacks that speak to the experienced trauma that has shaped our dear Maxine Minx (Mia Goth). Problematically, there is little dialogue from our primary protagonist to further develop her character, and the additional, over-the-top cast don't necessarily bring any desired nuance. The nostalgic nod to 80s Hollywood and the integrated Hollywood Studios tour are the best parts of a film that isn’t all that scary or thrilling but entertaining enough. KATIE The final installment in Ti West’s horror trilogy, MaXXXine is a gloriously gory, immensely stylish film that platforms Mia Goth’s phenomenal star quality. The film contains countless nods to 80s Hollywood and pop culture with a nostalgic, neon-lit aesthetic and the sleazy atmosphere of a giallo-esque thriller. Goth is, again, deeply compelling with a formidable screen presence, but her character doesn't feel as fully formed as in the two previous films, and the script generally pays less attention to character development than flashy personas. Still, overall, MaXXXine is a fervently fun and entertaining final chapter for the franchise.

THE FALL GUY Starring: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Winston Duke, Hannah Waddingham, and Stephanie Hsu Director: David Leitch ADRIANO The Fall Guy is an actual love letter to cinema and movie-making that has so much respect for the stuntpeople and crew on the set of a film. It's also a ton of fun. Granted, there absolutely are moments when the film has serious momentum problems, and the crime plot takes a second to make much sense; however, when it works, namely when Ryan Gosling is able to be his charming self and during the film's romantic and action beats, it hits hard while making you laugh in the process. I certainly have my issues with it, but it's also something I'm glad I watched. QUENTIN When you try to do as much as The Fall Guy …which is a comedy, throwback actioner, mystery, and more…you’re bound to not stick every single landing. That said, first and foremost, this is a love story and a love letter — hell, a love manifesto — to stuntmen. It doesn’t matter if a few jokes lack spark, or if an action sequence or two lack excitement; as soon as one of those aspects falters even the tiniest bit, Ryan Gosling and Emily Blunt’s chemistry and the total stuntmen reverence picks up the pieces to create an extremely fun ride that will only get better with repeat viewings. NICK Considering it had solid word-of-mouth from SXSW and stars Ryan Gosling (who is always reliable in action comedies), The Fall Guy failed to wow me. I enjoyed it, yes, but whether it is the chemistry between Gosling and Emily Blunt, the satirical elements, or the jokes within, things never reach the heights they should have. There is some fun to be had — particularly in the visual gags — but I was hoping for another gem I’d want to revisit again and again (much like The Nice Guys ). Alas, this just isn’t it. AMARÚ Never thought I’d see a cheesy rom-com wrapped up in an action film, but director David Leitch delivered just that with The Fall Guy . Ryan Gosling and Emily Blunt have tremendous chemistry, carrying the epic action and meta camp to perfection, even with a too-on-the-nose script and bloated runtime. But through all that, I don’t think there was a time where I didn’t notice a huge smile on my face. From the winks at the camera to the love for the industry’s most undervalued MVPs, The Fall Guy delivers a nonstop blast to kick off the summer season. PAIGE As expected, the action sequences and Ryan Gosling's charisma are what drive every second of The Fall Guy . Even though it’s a little long-winded at times, this movie is incredibly delightful and entertaining from beginning to end. This action-packed comedy features a fantastic soundtrack, plenty of laughs, and dynamite thrills. Although the overall story is a tad bit weak, there is so much fun to be had with it, and it does a good job of delivering its message about the value of stunt performers, the unsung heroes of the film industry. KATIE The Fall Guy is a fun, if slightly overlong, action-comedy romance that is driven by Ryan Gosling’s effortless charm and the fantastic chemistry between him and Emily Blunt. The plot and script are secondary to the film’s central aim, which is simply to entertain and draw focus on the rapport between the stars, and I was happy to switch off for two hours and enjoy. The film features thrilling stunt work and a reverence for the profession, underscoring what stunt people risk whenever they set foot on set, with plenty of action-packed spectacle. PRESTON The Fall Guy is probably the most relaxed viewing I’ve had this year. I knew it was going to be good with leading stars, Ryan Gosling and Emily Blunt, taking the reins, and they didn't disappoint. It took me about an hour to realize that the numerous stunts were being semi-forced into the film, but they are added in a (mostly) seamless way that gives the stunt crew the much-deserved spotlight. There is a little goofiness to the script, but it serves to show just how much fun the entire cast must have had together.

FIVE NIGHTS AT FREDDY'S Starring: Josh Hutcherson, Elizabeth Lail, Piper Rubio, Mary Stuart Masterson, and Matthew Lillard Director: Emma Tammi PAIGE Holy moly is Five Nights at Freddy’s HORRENDOUS. It’s narratively pushed by a half-assed storyline about childhood trauma that it never fully commits to, and it seems to debate with itself as to whether it wants to be taken somewhat seriously as a “horror” film or go all-in on the campiness of everything. It’s a shame, too, because, honestly, somewhere in there is a good movie, but with such a tame and muddled script littered with tonal inconsistencies and story issues, it prevents it from being anything close to enjoyable. So, I’ll leave it at this…Five Nights At Freddy's is four nights too many. ADRIANO Five Nights at Freddy's is for fans of the game and nobody else. Everyone else must suffer through a dull, tension-less horror film that baffles at every turn. The film's reliance on fan service is shameless, and fans will argue that the bizarre plotting and backstory are all "the lore," but as a non-fan, I couldn't make sense of it. And that's before even mentioning the horrific editing and one of the craziest tonal shifts I can remember. Nothing even really happens for four of the five nights. If you like the games, have fun. Everyone else, steer clear. CALEB On paper, a horror movie about murderous Chuck-E-Cheese-style animatronics is a fun idea, but Five Nights at Freddy’s is held back by its own source material. Too much of the runtime is spent exploring lore from the video game, and it takes time away from the fun robots. Admittedly, they don’t actually look that great, but whenever they’re on screen, the movie is at least somewhat entertaining. If the droves of screeching 14-year-olds in my theater were any indication, I’d bet this one gets a sequel, so next time, let’s have more focus on the killer animatronics and less on Nebraska. KATIE Five Nights at Freddy’s completely lacked any bite. It should have been fun, cheesy, excessive, and gory. Instead, it was bland, boring, and failed to commit to the horror element of the source material, suffering as a result. As someone who is unfamiliar with the video games, the barrage of references were lost on me, and I was left pointlessly waiting for something, anything, interesting to happen. The film’s focus on the ‘lore’ of the games isolates anyone who isn't in the know, and consequently is full of confusing tonal shifts, tedious plotting, and unconvincing performances. PHILL Five Nights at Freddy’s is convoluted and overlong (despite only running at 110 minutes), and it’s truly scary how boring it is. It’s a mighty achievement for Blumhouse to take such a basic concept and fumble it as much as they have. Hindered by its lack of an R-rating, Five Nights at Freddy’s is too tame and timid, promising a payoff that never truly arrives in any remotely satisfying way. Given a lower budget and a grittier/gorier atmosphere, this film could have been something worthwhile. Instead, it relies solely on jump scares that don't even raise a heartbeat.

LUCA Starring: Jacob Tremblay, Jack Dylan Grazer, Maya Rudolph, Giacomo Gianniotti, Jim Gaffigan, Emma Berman, Marco Barricelli, and Saverio Raimondo Director: Enrico Casarosa JACOB It won't land amongst anyone's Top 10 Pixar movies, but the small charms of Luca are enough to keep it entertaining. The characters are fun to follow on their various adventures despite there not being much story involved and they keep things moving along. The film seems a bit averse to any actual tension though, usually taking the less dramatic approach when it's given opportunities to challenge those characters or its own narrative. Poignant themes of friendship and discovery keep it sufficiently afloat to be worthwhile, but those expecting Pixar’s usual level of animated mastery should look elsewhere. AMARÚ Initially, I was getting worried that Luca was just going to be a long-form Pixar short. Great visuals and unique characters can only take you so far if the story isn't grabbing your attention in the first act. But once Emma Berman's Giulia entered the picture and gave us a trio to root for, everything Pixar does well began to fall into place. An original concept with strong characters and meaningful conflicts, Luca ends as a heartfelt, feel-good story that's not as great as some of its predecessors but is still a sweet time for the whole family. JOSEPH Pixar has been on a slight decline lately, but Soul gave me hope that was coming to an end. Luca undid that hope. Luca works as a coming-of-age film, but it's too afraid to lean into the darker themes and allegories it hints at. Characters appear with minimal impact and no real stakes are set, while the villain is dull and irrelevant to the themes and character arcs. The three main characters are well written, but if it wasn't for the humor and charm, I feel this would be among Pixar’s worsts.

EDGE OF EVERYTHING Starring: Sierra McCormick, Jason Butler Harner, Ryan Simpkins, Emily Robinson, Dominique Gayle, Nadezhda Amé, Sabina Friedman-Seitz, and Anthony Del Negro Director: Pablo Feldman and Sophia Sabella NICK The biggest triumph of Edge of Everything is how authentic it feels. Sure, it covers all the typical hallmarks of a coming-of-age film (family drama, relationships, teenage angst) but it does so in such a genuine way. Directors Pablo Feldman and Sophia Sabella aren’t afraid to let their protagonist, Sierra McCormick's Abby, be unlikeable as she spirals into a life that is one part negative influence and one part her own doing. This leaves Abby's mistakes front and center without any attempt to hide them, which you understand when you see how little consequence she thinks her actions have. It’s a nice touch. KATIE Edge of Everything is a hard-hitting yet tender coming-of-age drama that doesn’t shy away from the harsh realities of the young characters’ lives. The film explores the dark complexities of teenage girlhood, as well as the importance of authentic friendship. It, admittedly, left me in tears more than once. The protagonist Abby, played by the fantastic Sierra McCormick, is deeply relatable, and she perfectly portrays the sense of invincibility and eagerness to grow up, regardless of the consequences, experienced during this age. With compelling and impactful storytelling and authentic performances, Edge of Everything is a powerful film that leaves a lasting impression. PAIGE In spite of Edge of Everything ’s simplicity and lightness, it embraces the messiness of adolescence without providing prefabricated answers. While I do feel that the directing duo of Sophia Sabella and Pablo Feldman played it a little safe, this coming-of-age story does serve as a sobering reminder of how difficult it can be to find your place in the world. Despite the story lacking depth while having unlikeable characters, it captures a realness within. This is due to its strong performances, the themes of identity, and the highs and lows of growing up, which I think will resonate deeply with many.

THEY/THEM Starring: Kevin Bacon, Theo Germaine, Anna Chlumsky, Cooper Koch, Quei Tann, Anna Lore, Austin Crute Director: John Logan NICK They/Them attempts to empower its LGBTQ characters the same way Get Out empowered its black characters, but, boy, does it miss the mark. There are two positives in this film: 1. the spotlight it shines on the horrors of conversion camps; and 2. Kevin Bacon's snake oil salesman. Beyond that, it's a film filled with subpar-to-average performances, a lot of bare bums, and what is probably the worst scene I'll see in a film this year. Regardless of whether you identify as he/him, she/her, or they/them, this film probably isn't for you. PAIGE They/Them attempts to be a summer camp slasher thriller, but really just ends up being a half-assed stab at a queer horror flick. Even with some pretty strong performances, the cast couldn’t save the disaster occurring on screen. Director John Logan’s inability to balance the horror elements throughout the film is truly the core issue. I mean, the therapy scenes were more haunting than the actual kills. Unfortunately, this is not the queer slasher film we wanted or deserved.

VICIOUS Starring: Dakota Fanning, Kathryn Hunter, and Devyn Nekoda Director: Bryan Bertino KATIE Vicious reminded me of a lot of other contemporary horror films, like Drag Me to Hell and Smile . Whilst director Bryan Bertino has struggled to replicate the unique success of The Strangers , I was pleasantly surprised by his latest horror outing. It successfully builds tension and intrigue from the outset, driven by a straightforward but effectively creepy premise. Despite her cut-and-dry character, Dakota Fanning is great in the leading role, especially considering we spend most of the film with her alone. It struggles to stick the landing, and the ending is muddled, but overall, I had a lot of fun with Vicious . ROBERT When random people show up at your door at night, do not let them inside your house. That was the only point I could glean from Vicious because, not only is there no resolution, but there isn’t any sort of understanding as to what is happening and how it can be tamed. The scariest pieces of the film are the spirits’ creepy voices from the mystery box pretending to be Polly’s (Dakota Fanning) family, so kudos to her for pulling off being scared. Overall, if The Box and It Follows had an untalented baby, it would be Vicious .

DON'T WORRY DARLING Starring: Florence Pugh, Harry Styles, Chris Pine, Olivia Wilde, Gemma Chan, Nick Kroll, and KiKi Layne Director: Olivia Wilde JACOB Olivia Wilde’s Don’t Worry Darling doesn’t really work, but not for lack of trying. The film often kindles intrigue, and the first act promises a wild ride to come; however, about halfway into act two, the movie sort of conceptually stalls out, failing to execute its premise to its full potential. While Florence Pugh is as great as ever, the rest of it doesn’t really hold together the way it hopes to, and the third act twist undoes most of the good will the film worked to build. That said, the cinematography, production, and costume designs are quite beautiful sights. QUENTIN Given the scandal and negative buzz, Don’t Worry Darling presents an interesting case. Although not perfect, it’s still enjoyable. First off, the production design - from the clothes to the houses to the cars - is breathtakingly gorgeous. I want to live in this 1950s oasis. Plus, the mystery stays engaging enough despite getting a bit too lost in itself. Perhaps it favors atmosphere over story, but I appreciated the dark The Stepford Wives meets The Truman Show vibe. All that said, the real question is: Did I like it more than I should have because I expected a disaster? Or is it genuinely pretty decent? Hard to say. PAIGE Well, darling, you might want to worry because this high concept thriller falls short on its themes. Don’t get me wrong, Don’t Worry Darling is visually stunning, and Florence Pugh gives an outstanding performance, but the flick barely breaks the surface. It seems to focus more on its style than its substance. I quite enjoyed the twist, which I didn’t see coming, but it felt like the script took so long to build the concept of the story, that it should’ve taken the time to explore it once it got there. In the end, the film left me with more questions than answers. ADRIANO I loved Don’t Worry Darling until I didn’t. The first two acts had me in the palm of its hand, captivating me with its mystery, before the third act completely lost me. Overall, director Olivia Wilde created a film that is entertaining in the early going, especially with all the crafts working flawlessly, and the entire cast, led wonderfully by Florence Pugh, is amazing (with one exception, you know which one). But there aren’t payoffs to a lot of what was set up, and the answers we do get are just straight-up bad. I found myself mainly disappointed here.

DEATH OF A UNICORN Starring: Paul Rudd, Jenna Ortega, Will Poulter, Téa Leoni, Richard E. Grant, and Anthony Carrigan Director: Alex Scharfman NICK Death of a Unicorn should be a lot more fun than it is. Aside from the entertaining cast (Paul Rudd, Jenna Ortega, Richard E. Grant, Will Poulter), the writing isn't particularly clever nor does the story feel unique. At its core, this is another "eat the rich" movie, yet it never explores that message beyond surface level. Neither the violence or mayhem really hit because they're often utilized in visually dark scenes that take away the impact of the revenge. There was plenty of opportunity within this story, but the only impressive thing it truly accomplishes is making Paul Rudd unlikable. ADRIANO Yet another eat-the-rich satire, at least Death of a Unicorn has a funny concept. It's too bad it does nothing with it, though. The movie is almost entirely devoid of laughs, with the only exception coming from Will Poulter's delivery. Not even Paul Rudd's reliably lovable doofus schtick lands here. Admittedly, there's something there with the father-daughter storyline, but they don't develop it enough. Writer/director Alex Scharfman puts too much attention on the bare-bones commentary and less on the film's comedy and monster movie elements, making the film not nearly as fun as it should be. AMARÚ Death Of A Unicorn has all the makings of a quirky time spent with a perfect ensemble to pull off the weird, and Richard E. Grant and Will Poulter, in particular, do a fabulous job filling their archetypal characters. However, the film never truly commits to any one idea, moving on to the next thing before giving the current horror or comedic set piece time to breathe. Every individual scene has plenty of fun elements, especially everything involving Anthony Carrigan, but the shallow pacing stunts any cohesiveness the story or characters try to develop, resulting in a lot of lost potential. PAIGE Death of a Unicorn is merely another typical eat-the-rich movie, despite being a quirky and amusing, blood-soaked mythical tale. Although the film has some fun and compelling moments, its formulaic plot dilutes much of its ideas. Nevertheless, the ensemble seemed to be having a blast with what they were given, particularly Will Poulter, who ate up every scene he’s in. Sadly, however, Jenna Ortega and Paul Rudd were unable to establish a strong father-daughter dynamic. All in all, while slightly lackluster, Unicorn is still quite enjoyable and bloody entertaining. BRYAN Oh, look at that! We have another eat-the-rich satire in Alex Scharfman’s directorial debut Death of a Unicorn . While the fantastical element is a fascinating approach to the subgenre, the promise fades away early on when you realize what you're getting yourself into. It would've been refreshing had the film focused on one singular tone, instead of jarringly swifting from comedy to horror. Had it embraced the corniness, maybe this would have been a winner for me. Thankfully, the ensemble helped keep the film somewhat afloat, with Will Poulter hamming it up from start-to-finish. Serviceable, yet disappointing, A24.

FLIGHT RISK Starring: Mark Wahlberg, Michelle Dockery, and Topher Grace Director: Mel Gibson NICK As polarizing as Mel Gibson is, his ability as a director is rarely in question. That’s why it's hard to believe he directed Flight Risk . Although Mark Wahlberg tries his best with what he's given, the film is severely challenged in both its writing and the aforementioned direction. Had Gibson decided to make a tension-riddled thriller with Wahlberg playing a maniacal villain, this could have worked. Hell, even if he went the other way, building up the ridiculousness to go for some wacky dark comedy, things may have worked. Instead, he did neither, which results in a film that decidedly does not work. ADRIANO Yeah, it's January alright because I'm almost at a loss for words at how bad Flight Risk is. You can fall back on the excuse that it's a B-level thriller made to feel like a silly straight-to-DVD movie all you want, but I'm not exaggerating when I say nothing happens in this movie. Mark Wahlberg going nuts is a little entertaining, but he's just unconscious in the background for the most part. Otherwise, this movie is tensionless, the humour is really cringe, and it features possibly the most forced romance in cinema history. This has basically no redeeming qualities.

CANDY LAND Starring: Olivia Luccardi, Eden Brolin, Sam Quartin, Owen Campbell, Virginia Rand, and William Baldwin Director: John Swab NICK After watching the underseen Ida Red , I was curious to see director John Swab's newest film, Candy Land . Unlike the former, this featured a less flashy cast but was still entertaining. The indie vibes work in the film’s favour and the setup is great, but the characters aren’t fleshed out enough to get you invested in them. I would’ve liked to see more time spent on them before leaning into the horror aspects of the film. I may not have enjoyed this one as much as Ida Red , but Swab has still done enough to make me check out his next feature. JOSEPH Candy Land is at its best when its working out the real-life machinations of sex work and the risks posed to sex workers. It’s when the film switches gears towards a slasher that it begins to lose me. It’s still good, just an uneven and lackluster attempt at critiquing religious fundamentalism. Still, the performances are solid, guiding you into this grimy world of sex and violence while holding your attention to the end. QUENTIN In hindsight, I wasn’t prepared for Candy Land . It looked to be a naturalist take on truck stop sex workers, with an indie vibe akin to Kids or The Florida Project . And while it certainly starts that way, especially in the moments when it gives the rundown on how that specific subculture works, the movie eventually evolves into a very bloody horror movie. Its in-your-face style won’t be for everyone (for example, there are multiple vagina closeups in the first 10 minutes), but as a movie about doomsday cults and nominal sinners, it mostly works, making you pay attention even as you’re tempted to look away.

GOOD LUCK TO YOU, LEO GRANDE Starring: Emma Thompson, Daryl McCormack Director: Sophie Hyde JOSEPH Good Luck to You, Leo Grande has everything going for it and it delivers on every level. It is an intimate character piece that focuses solely on its two leads, yet it never feels lacking. Some may find the film too dialogue heavy, but I loved it. Not enough films are done this way. It’s a uniquely bold film with the sole intent of challenging taboos and de-stigmatizing sexuality. It’s one of the better films I’ve seen this year despite its simplicity. JACOB Good Luck to You, Leo Grande doesn’t really stand out on a technical level, though truthfully, that’s likely more due to it being a Covid-conscious production than anything else. What it does do is illuminate those unfamiliar with the realities of sex work to some of its more positive benefits rather than focusing solely on its dangers. The thoroughly nuanced conversations between co-stars Emma Thompson and Daryl McCormack make up nearly the entire runtime, and the two have a palpable bond from the moment they meet. Luckily, that bond is enough to see the film through to the finish line.