Reviews

Have you ever felt condescended by a movie? Miller's Girl's foray into the taboo - a faux exploration of the student-teacher romantic psychology - is an excruciating watch. If I didn't know any better, I might assume that this film was written on Wattpad as some kind of twisted Harry Potter fan fiction, but without magic and added cringeworthy eroticism. Its sapiosexual voice is often so irritatingly dull that it feels like irony.

I like words - I really do. Vocabulary is one of my favorite things to practice in my daily life. There is a way to use your vocabulary without sounding pretentious, patronizing, or stuck up. Miller's Girl missed this lesson, deciding instead to bookend every piece of dialogue to be so inflated with a nauseating amount of snark and pseudo-intellectualist banter that the latex of the script's overwhelmingly ballooning ego is about to tear.

Anyway, this film is beautifully shot - each scene appears to be carefully situated upon its subjects in an intentional and psychoanalytic fashion. This works in favor of better examining each character's wants, desires, and longings. That is, of course, if the film's dialogue didn't spell it out for you every chance it got. If the performances of this all-star cast had been sharper, perhaps we could have peeled back the layers of pretension to discover a deeper meaning - if there had been one to appreciate.

I'm not saying Miller's Girl is a totally horrible movie, but there is only so much one can forgive when given so many chances to build something strong from its interior. Instead, the house that is built is unsound, and way too expensive for its market value.

Vera Drew's unauthorized DC Comics parody film The People's Joker is a bold ambition brought to beautiful life. It's a labor of love and laughter that was raised by a village and carried into the world in all of its imaginative, charismatic, and crowdfunded glory. Wielding the wand of parody is a dangerous game - doubly so in the vein of IPs as omniscient as the Batman franchise - and is a game that this film won.

This film's voice is strong, and never wavering from the many things it has to say about gender, trauma, corporate manipulation, social justice, liberalism, conservatism - the list goes on. Balancing these subjects while also maintaining a consistently funny and entertaining script that is tastefully aware of itself is arduous, though Vera Drew and all who were involved in making this film make it look easy. There's a natural swagger that inhabits this kind of passion project, and it's one that exudes and demands originality, captivation, and a good sense of humor.

I cannot believe how funny this movie is. While many of its jokes rely on the viewers' prior knowledge of certain Batman-related trivia and memes, its style of humor never takes itself too seriously, but forces the viewer to face strong topics and ask hard questions. It's a highly digestible and firm foundation for a worthwhile parody. The chemistry between Vera's charismatic performance, the caricatured cast of villains and heroes, and the viewers themselves is tantalizing. This is coupled with a rotating whirlwind of different artistic mediums, swaying from green-screened sets, animation, stop motion, uncanny CGI, and a mass of other unique visions that culminate in a spectacular showcase of pure talent.

As I reached this film's touching final act and was sadly greeted with the ending card, something within me began to glow. It was apparent to me that I've never quite experienced something like Vera Drew's masterpiece that is The People's Joker, and I fear that I never will again. It gives me great hope for cinema when we are given the privilege of experiencing its most promising, adventurous, and kindred achievements.

There's something unabashedly cruel about turning a blind eye to horrors unbound. In this way, The Zone of Interest is the devil's advocate - a sheltered yet apathetic vantage point of the life of a family living directly beside Auschwitz and the indifference they show.

It's a body of work that challenges the typical war film, in that the typical action film violence that normally accompanies WWII movies is not present. Instead, the present danger is just beyond the far wall - out of sight, but most certainly not out of mind. As we quietly observe the daily lives of the Hoss family, their malevolent nature is weaponized with privilege. We spend time in their world, where they are presently untouchable - undefeated.

The true horror is in what we hear from the other side of the wall - the camp. We see none of what occurs, and our means of processing these crimes against humanity are only through sounds and context clues. However, at the end of this film, there is a moment of clarity, where a mere, powerful fraction of the magnitude of these inhumane acts comes to the surface.

I'm grateful that films like this exist. I believe films that adjust their scopes of the deep humanitarian injustices of WWII should be stand-out works. The Zone of Interest is tastefully aware of the power it wields.

I sometimes contemplate why films like Night Swim exist. Of course, I'm not expecting high art from a PG-13 aquaphobic thriller that is designed for fun movie nights with friends. In fact, there is a great merit to films that bring folks together in this unique way. However, through this arrangement, in exchange for our patronage, the film should have something to offer us.

Night Swim comes to us empty handed. In fact, it suffers from a swarm of tired horror movie tropes that strip away and sully any hint of originality. To me, this is a shame, because it's highest quality elements have nothing to do with the horror aspects of this movie.

The backstory of the father's life-changing and career-endangering sports injury grabbed my attention. The family's need to finally settle down in a home after his injury creates this circumstance. To me, this plot line would be perfect for a drama, where the more intimate and intense elements can more reasonably explored.

I feel there is a lot of wasted potential here, and as a result, created a letdown of a popcorn thriller. Even so, this film will be received positively to some horror fans, but for me, no honest attempt was made to make something worthwhile.

Leaving Alex Garland's Civil War, I was hoping I'd be able to shake the extraneous existential dread and sense of doom that this film impressed upon me. As I write this review hours after viewing, I am still unable to move on. In my opinion, this is the single most impactful war film that I've seen in recent memory, comparing only to 2022's All Quiet on the Western Front in magnitude and emotion. It's complicated to describe accurately the emotions that I felt during this movie, but I will try my best to put words to its power.

Alex Garland's ability to weave together a film so strong in its architecture and core themes, yet extraordinary in scope. Throughout, I was astonished at just how apolitical in nature the plot and setting come off. It's set in a near future, and is executed in a way that doesn't give into absurdity - every bit of action, terror, emotion, suspense, and dread feels raw, heavy, and real. Our small cast of protagonists interact with this world in a way that is so desperately detached that I found myself almost scared of them, but mostly feeling so, so sorry for them.

Every scene finds a way to rattle you in a new, horrific way, while you are forced to be a captive audience and powerless to help. I found myself wincing, clutching my heart, and almost in tears as unimaginable acts of violence and evil are carried out before me - a parallel to our aforementioned cast's demeanor. The transformation of these characters is unspoken, but given explicitly through experience and heartbreak.

This film comes to us in a time in history that a scenario like this sometimes feels less unlikely, and I believe this is where Civil War's grasp tightens significantly. Through the lens of war journalism and the impossible objectiveness that our characters seek, this road trip drama exists to terrify and empathize, while providing a glimpse into an underbelly of the Information Age that seeks only to break one's spirit. I won't be forgetting this one anytime soon.

Twisting a well-loved IP into a horror variant of itself is a risky game. We've learned from previous attempts (a la 2023's Winnie the Pooh: Blood and Honey) the pitfalls that can befall something like this. Andy Chen's The Spider, starring Chandler Riggs of Walking Dead fame as Peter Parker, is a well-crafted short film, and does its best to dodge the potholes that similar projects have created by wasting no time in introducing you to its core themes. These themes have the potential for something strong and durable in the horror sphere.

While the acting can feel a tad flaccid, the visual effects add a practical twinge of horrific spice to this film that works greatly to its benefit. I found myself grimacing in anguish as the body horror came to a crescendo. We see many familiar characters, but we hardly get a chance to know them. We are shoved from scene to scene at an almost rapid pace - like we're skipping cutscenes in a video game. This comes at the cost of strong pacing not only as a body of work, but on that scene-by-scene basis.

I've got to hand it to Chen - this kind of "what if" story has potential to expand and become more fruitful in its storytelling and world building. I see The Spider as less of a short film and more of a proof of concept - a test run to exhibit just how grotesque the character of the beloved webslinger can become when pushed to its darkest limits.

The cultural conversation surrounding human decency in the dating and relationship sphere have been in the spotlight for the past decade. Cat Person seeks to crack this conversation wide open in a fictional setting with characters that are meant to portray people who sit on every side of the divisive topics covered in the film. No matter what side of the fence you sit, chances are you will hear something you've heard before.

I believe there is a lot that this film does right. There is a chemistry between the cast members that feels organic and genuine, and the use of awkwardness and the lack of chemistry between our male and female leads are things I consider chemistry in itself. The cringe is palpable, the creepy-crawly feeling is tantalizing, and the world built around our characters feels alive.

I'm not sure how I feel about the rhythm of this film. The pacing is a bumpy, unkempt road that knocks this film's core message loose from its axle. There is so much happening, yet nothing seems to find closure. The tone is an ever shifting mess, and the more tense moments feel flavorless and plain.

Cat Person certainly had a lot to say, no matter your stance on its social and political themes. I only wish that a movie with a premise such as this was executed with more memorable craft.

Max Isaacson's Paradise is a neo-western revenge flick that should be admired. I found myself hanging on every word as this story unraveled, drawing myself closer to each character's story, struggles, and personalities. I find it a rarity for a film like this to be so effective in its prose, and so captivating in its execution. The world that is crafted by Isaacson is one built on brutality, vigilantism, corruption, and dark humor, with an environmental style shaped by neon, semi-tropical glow.

Action-packed graphic novels are what immediately come to mind as I watch this. The stylized surroundings of our characters add a personality of its own. With engaging performances by the cast, especially lead Patricia Allison, this is a story about betrayal, bitterness, distrust, and violence. I felt that the foundation for Allison's character was strong, and takes a spin on the vigilante character in a unique and interesting way. Albeit short, the duration of this film is well spent, and wasting no time in building a structurally fortified story.

I almost wish that the character of Lee Paige (played by Tia Carrere) was underutilized. From my perspective, there was much more potential for her character to play a larger role in the film, instead of being merely a malevolent ghost on the wind. Don't ask me how - that's merely my instinct. Her design and personality are interesting right from the get-go, and I was almost disappointed that her presence in the film was so little.

I struggle to find anything that I dislike about how this film was crafted: it's a very strong body of fiction. For those who enjoy flashy, violent revenge movies, this is your ticket to Paradise.

I was struck with the idea of this film from the moment I saw the ads for it via the Florida Film Festival. I was drawn in by the deadpanned comedic chemistry that was equal parts candid as it was daring. Joanna Arnow (the powerhouse whom wrote, directed, and starred in this film) pulls off all blinders to the core themes of this film: sexuality, emotional pining, complacency, honest candor, and a feeling that can only be truly described with the film's apt title.

From beginning to end, we explore only as much of our protagonist Ana's psyche that she allows us to see. Guarded, yet open, her interactions with those around her paint a portrait of indecision and a trajectory of her life that is in one way ambiguous, but also free. The comedic stylings are delivered in a way that isn't over the top, relying of smart dryness and offbeat humor - a refreshing element to a story like this.

At this film's core, we are given a person to observe, and not necessary one do applaud or boo. Her choices, relationships, and actions happen in a way that we can empathize with, even if her character who is one in no need of it. Even so, with this film's gut-punch conclusion, you find yourself deciding what you want for her. This is a stark reminder that we are not meant to predict or encourage any of her behaviors and hope for any specific outcome, and that what transpired in this story is deeply personal but inevitable and fated.

I don't think I've seen a film like this one, and I don't think I ever will again. It's hard to accurately describe the emotions I felt during this film. It is expertly crafted and full of the quiet vigor of a story begging to be absorbed and understood completely.

Language is a beautiful thing, and those who wield it have a choice to make - for good? For evil? Or for tomfoolery? Wicked Little Letters uncovers a long-lost true story about a case that chose tomfoolery in a devious, but often hilarious way. As these anonymous letters strike fear and anger into the prudish hearts of the residents of a quiet town called Littlehampton, what follows is a celebration of language - its power, its humor, and how it tore a community apart.

I was a tad skeptical coming into this film. I was worried that the comedic formula at the heart of this one would boil down to little more than "haha bad words funny". Pleasantly, we are given a story with much more substance. Our cast brings this little world to life with fervor, gracing us with performances that are not only razor sharp in execution, but were unmistakably performed with every ounce they could offer. It's a story not only about humor and rudeness, but also a candid look at sexism, classism, societal pressures, and a desperation to break free from predispositions and stereotypes - with a beautiful scenic backdrop to boot.

That being said, the use of curse words can feel a bit excessive. The script for this film (perhaps with adlibs and improv from staff) does tend to lose itself in the uncouthness that comes with 1920's sensibilities. This can sometimes break down a scene and stray away from where the humor is actually found, relying too much on the word than the context. Of course, this is made up for by the funny, touching scenes where these words aren't the main character.

As a lover of language, I got a great deal of enjoyment out of this movie. With a setting and cast that inhabit this story of scandal and mystery, I found just as much humor as I did warm-heartedness and humanity. Take your most well-mannered friends and family to this one. They might find a different kind of humor in it than you did - and that's a beautiful thing.

Sony Pictures Animations' The Spider Within: A Spider-Verse Story is yet another strong example of the studio's magnificent chops. Only 7 minutes in length, it tackles a heck of a lot under the surface - battles with anxiety, youthful pressures, and familial bonds through trauma. The cast is minimal (Shameik Moore and Brian Tyree Henry returning as Miles and Jeff Morales, respectively), but these minimal interactions with Miles' growing mental anguish create a turning point for both characters that culminates in something wholesome - a stark contrast to the short's dark, horror-inspired imagery.

Mental health has been an element of many cinematic Spider-Man stories, but this short confronts these themes head-on, pulling no punches in creating imagery that helps us feel what Miles is enduring. However, I can't help but feel that this short did not flourish like it could have. To me, this begs to be incorporated into a larger work, where we can examine this side of Miles and his feelings towards herodom as it relates to a grander story. This is not a make-or-break critique, of course, as the end product was effective, empathetic, and I'm sure started a lot of productive conversations.

The fantasy genre is one that I have deep admiration for, but have not found the last few years of fantasy movies to be particularly fruitful or original. Netflix's Damsel starring superstar Millie Bobby Brown is a film that I had high hopes for. The early marketing material painted a picture of an ambitious, female-led fantasy adventure.

Millie Bobby Brown's acting prowess is admirable, creating a career full of potential since the mid-2010's. With her strong roles in the past, it only made sense that she would set into a role in another period piece that is chock full of suspense, violence, and very expensive CGI. However, her acting skills, along with other recognizable and respected talent, were not enough to save this movie's script from becoming soggy from the waters of the oversaturated fantasy genre.

I struggle to find anything of lasting substance in this one. Most of what we endure is a survival montage listening to Brown scream for several minutes consecutively. I feel there are missed opportunities to create these segments in a way that reveals more about Brown's character, the world she inhabits, and revelations about her current situation and how she ended up where she is. Instead, these revelations are made in a very matter-of-fact and plain way that removes any mystique or emotional weight from this pivotal moment that should serve to change her outlook on her world as she sees it forever.

I found the most immersive elements of this film are the beautifully mystical world that we explore, even if we don't get much time to spend in it before we are plunged into a bottomless fissure for well over an hour. This combined with a beautiful score and sound design do offer a world that feels alive one moment, and cold and desolate the next. The way this mirrors the cast's journey does add to a more visual narrative, even if everything that is happening is explained to us verbally when no one else is around to hear it.

I'm surprisingly disappointed by this one. The aforementioned promise it showed didn't hold up, but regardless, the cast tries to breathe life into a fairytale that already feels ancient.

In the advent of analog horror in the creative sphere, the dark corners of your psyche are being competed for. Lately, it's become clear that these found footage stories that prevail in this space are not the ones that constantly assault your senses with jumpscares, flimsy writing, and cardboard characters - no, they are the ones that go against the grain and employ horror's best practices to create a standout work that furthers the genre as a whole. This is Late Night with the Devil.

I can't remember the last time I left a found footage horror movie satisfied, let alone thrilled. Dealing with themes of greed, blind ambition, and narcissism, David Dastmalchian proves himself to be a powerhouse lead. There is subtlety and nuance to his delivery - a squirming fear that arises through his cool show host demeanor as he emulates Icarus and flies too close to the sun, taking everyone to hell with him. The chemistry between him and the rest of the cast brings this script to a meteoric power that emanates from their environment. I can't describe these stylistic choices as anything than brilliant.

I have to mention the special effects. I won't pretend there's nothing to be desired there. Many of the practical effects are great, but some CGI felt like it was overlaid onto the film - almost like a rush job. For me, this came as a detriment to the immersive quality of this world, where everything mostly felt seamless.

There is a lot to learn from Late Night with the Devil. Immersive storytelling that feels believable, acting that doesn't implode on itself, an ambiguous story that sends literal chills down your spin. This film will be more than classic - it will be an example.

I'll say it countless times: Adam Sandler is a good actor, even a great one. When refocusing from raunchy buddy comedies with his usual crew of 90's comedian friends, he finds projects that he can truly and unequivocally blossom. With these projects becoming more prevalent for the legendary star, it only made sense to make the lateral move into sci-fi.

Spaceman is something else. Soft around the edges, chillingly isolated, and moody to an almost uncomfortable degree, this film has a peculiarity that I can't quite put my finger on. Spaceman Jakub grapples with hardships that are equal parts relatable yet unimaginable. It's clear that he has been on this mission an agonizingly long time - literally floating in an emotional limbo that is ironically heavy. Aside from the harsh void, there is an internal vortex of pain, loneliness, and aimlessness that is heavy on Jakub's heart away from his partner, Lenka (Carey Mulligan). Denis Villeneuve's film Enemy comes to mind when we meet a large space spider (which Jakub names Hanus) voiced by Paul Dano, an English-speaking extraterrestrial who guides Jakub through his psyche, painstakingly examining what Jakub is truly after.

The darkness is a mirror emotion of interpersonal turmoil that exists in the claustrophic tin can they inhabit would be more effective if it didn't feel like the weirdest therapy session you can think of. The effect that is desired of us feels almost forced. However, this is made up for by stellar performances by the main cast. Believability and authenticity are the main ingredients of this unusual space oddyssey. This, combined with visuals that are breathtakingly beautiful, culminate into a third act that firmly holds your heart in a moment that intersects the beauty and vastness of a universe yet to be fully embraced.

Spaceman is not as complicated of a movie as it wants you to believe. Complexity of emotions and the pressures of Jakub's world almost act as a smokescreen of feelings that at times feel artificial, but the strength of the drama and cresendo of internal exploration make up for this to create a film that reminds you of Adam Sandler's potential.

The Age of Cage is upon us. His gravitation towards offbeat genre movies in the last 10 years has rewarded him greatly - ingratiating himself with new fans and reconnecting with old fans abound. A24's comedy horror Dream Scenario proves Cage is not only comfortable in this space, but thriving, in a film about psychology, social hysteria, fame, familial discontent, and longing for purpose. The way that this film handles these topics is through a comedic lens, with a splash of surrealist escapism and uncomfortable situations.

This is what I believe makes Dream Scenario a standout work. Playing opposite of Cage is a cast of characters (played by Julianne Nicholson, Tim Meadows, Michael Cera, and more) who add a flavor of satire and life you might find in movies like The Truman Show or Pleasantville. The direction and style employ an orchestra of quirky yet hearty cultural zeitgeist that provides color into an otherwise tired subject matter, while also poking fun at social media, sensationalism, and a young world wrapped up in an aged muse.

Not everything feels authentic, however, and the emotions that are injected into the screenplay through the thoughtful acting sometimes feel disingenuous and flat. Mix this with some low blows for the sake of modern relevance and pop culture references and you get a film that largely hits the mark, but sometimes feels removed and unsubtle. Eye rolls aren't always a bad thing - many of these moments are cultivated specifically for eye rolls.

If Dream Scenario is any indication of A24 and Cage's direction, someone definitely knows how to read a map. In a landscape of films that misuse and abuse quirkiness for the sake of the fad, this film finds its footing with charm.

Based on the play "Killers" by Armento, and the 2019 short film of the same name, this film is about isolation, and the adverse effects that prolonged loneliness may have on someone. Fran, played by famed English actress Daisy Ridley, is our vehicle through the every day life of a young woman commanded by isolation and entrenched with dark thoughts.

We observe Fran's world as she exists within it - as a figurative ghost, somberly floating through life's mundanity. Life sort of happens around Fran, like she is transparent, or an inanimate figure that is only ornamental to the lives of her peers. The introduction of her love interest, Robert, played by Dave Merheje, is slow, and the bond that is fostered is subdued, almost translucent. The script and direction handles this frailty and understated life change with the delicacy of a small animal in your palms - the transformation that occurs through the awkward, stumbling feat of getting to know someone sends both Fran and Robert into a journey of self reflection and growth. I would also be remisce to not mention Marcia Debonis's Carol, whose candor is magnetic and wholesome.

The art direction of this film is brutally cold - not a hint of warmth is felt for most of the runtime, which reflects Iran's state of being, even after the fateful joining. This almost makes the movie's pace feel like wet cement, adding to the weight of the already palpable depression. Even the small sparks of levity that come from this artful rom-com fizzle out without creating much light.

This film certainly has something to say, which becomes most apparent during its seemingly ambiguous ending, though I don't think the goal was to leave us wiser, more empathetic, or even happy. It creates an experience for us - one in which we have found ourselves being Fran, Robert, or those who populate their lives. This is this film's special power, and there is undeniable beauty in the frost.

Few careers have achieved the proverbial heavyweight victory like John Cena's. Somehow achieving a different level of stardom, Cena has followed suit with others of his calibre, like Dwyane "The Rock" Johnson, another prime example of a shift in performing arts tracks that have struck gold. You've likely seen Cena in a variety of shows and movies over the last few years, and for good reason - he is a charasmatic comedic force, almost a household name.

Joined by Zac Efron, Andrew Santino, and Jermaine Fowler, Amazon's Ricky Stanicky is a breath of freshness seldom enjoyed by much of today's "bro comedies". With personalities that clash and meld naturally, Efron, Santino, and Fowler all bring an air to this comedy that is both authentic and heartfelt. However, Cena's performance of who would become the titular Ricky Stanicky is clever and witty, yet boneheaded and silly. These forces combined with a premise centered around the reinvention of oneself in the face of an uncertain future builds this comedy into something with considerable heart.

Comedy movies are hard to make - to make funny, that is. Comedy is subjective, and being funny for two hours requires a lot of quality material. That being said, while this movie was unique in its premise and execution, I found that they vied for some easy laughs when they could really have done better. This is all well and good - many folks' favorite comedies are ones where you don't speculate too much on usage of jokes and complexity of material - it's just something I felt held back Ricky Stanicky from being more.

Laughter is medicine, and Ricky Stanicky is through and through a feel-good movie. Aside from the typical vulgarity of comedies of this credo, there are moments of genuine goodness that leave you with something a little more.

The 90's were rife with action movies made for the thrill seekers, whose daily dose of syndicated television just didn't cut it. Director Jan de Bont's 1994 thrill ride Speed was a dominating tour de force of adrenaline. It hit the scene as a blockbuster and left as a memorable journey that almost defies logic.

What a movie. Driven by razor sharp performances by Keanu Reeves, Jeff Daniels, and Joe Morton complimented by Sandra Bullock's captivating lively and believable countenance, you are immediately along for the ride. You're never once given a backseat to the action - this is do or die. Every drop of tension, panic, fear, and terror is palpable. This coupled with excellent special effects, cinematography that borders on emotional, encapsulating sound design, a script that doesn't dawdle, and a perfect runtime make for an experience with quality only this combination of factors can deliver.

There are no perfect movies. Dialogue in any movie is make or break as far as keeping you roped in. Of course, this is the 90's, and cheesy one-liners and smart quips are a right of passage. Speed is almost aware of this, delivering peppered in lines that are so cheesy that you almost boo at poor Keanu, but it's clear that the dialogue is only a flavor meant to offset our protagonist's abject terror - like a coping mechanism.

Speed should not be forgotten - it should be celebrated as an achievement in the oversaturated action movie sphere, where its peers only wish that they could deliver a crash course in adrenaline with half the nitrous that Speed proudly gifts us.

There's no stronger bond than a shared experience that grows into a beautiful, lasting personal triumph. Many of us grew up with our own arrays of irrational fears, which came accompanied with a sense of isolation and fear of social ostracization. Dreamworks' animated feature, Orion and the Dark, seeks to not only connect us all to this core theme, but encourages us to reacquaint ourselves with this more fragile, innocent version of ourselves.

This film is built to last. You are introduced to characters whose traits may remind you of yourself, or people you may know. That sense of nostalgia and empathetic understanding is carried into a narrative spun in a funny, creative, unpredictable, and vulnerable web that catches your emotions like leaves on wind. The world around them is constructed intricately by unseen entities who make sense of an otherwise chaotic and confusing world.

It's in this ethos that the true spirit of this film will find you. Whether it's in a line, a moment, a character - you may find yourself saying "hey, that was me!" This combined with a story that masterfully orchestrates a multilayered story with twists and turns you may not see coming, but once the credits roll, reveals itself to be a tale with a big, empathetic heart. An appealing and smooth art style and animation help paint this picture with purity and totality - a world built to pique comfort and curiosity.

Orion and the Dark is for everyone - kids, parents, and grandparents. It's hard to ignore the achievement that is accomplished with such a strong, relatable narrative, and one that has such an important lesson to instill. It's a gentle proclamation to your inner child, who perhaps is feeling the embrace of long awaited peace.

I try my best to believe that we are not running out of good ideas. There are many mystery thriller films that have gone through the public gauntlet to become glowing examples and stand the test of time. One hopes that as the craft evolves, so would the creative minds of filmmakers, and new and unique stories would be told, right?

The Good Mother answers this question with a flavorless, underwhelming "no". This film had a solid hand drawn - gifted with blocks that would have built a sturdy body of fiction, with an all too relatable core theme for many people. Instead, all sense of pacing, rhythm, and even coherent storytelling are set aside in favor of something that would barely survive on Lifetime. The loss of a loved one in such a tragic manner should feel like a crushing vortex of grief that seemingly absorbs the world. This sense of loss in this film is not only nearly undetectable, but almost laughably tone deaf in execution. Between the nonsequitur plot points that are unceremoniously dropped to the painfully boring pace, the talented cast could not breathe life into this story.

Through the slog, however, one scene protruded through the mound of disturbed ground as a glowing moment in the story - the support group scene. Karen Aldridge's performance as Laurie is visceral. As the scene pulls our full attention to her, she recants the loss of her daughter to an overdose. Her pain is crushing, and the emotions which race across her face and pound her psyche to be released are quietly commanding our emotions. This was Aldridge's moment, and her powerful monologue was gifted to us with might that is deserving of a much better movie.

I remain optimistic that I will go into suspense thrillers with an open mind, and that my experience will be unique and enjoyable. The Good Mother perpetuates the self-fulfilling prophecy of mediocrity that has soiled the genre over the last decade. I often say that all movies are worth a viewing - I still believe this. However, the silver lining is that you can stop watching anytime.

Adapting a children's cartoon to live action, especially one as beloved as Dora the Explorer, is a tightrope act, with many of its classmates losing balance and joining one another in the Island of Misfit Cash-Ins. I naturally approached this one with apprehension, expecting to be given something to turn my brain off to and cross off of my watchlist.

I was caught off guard by how spirited, whimsical, and smartly funny this movie revealed itself to be. Definitely written for the 20-somethings that grew up under our backpack-adorned heroine's command (including myself), the writing in this movie never takes itself too seriously, and never masquerades as something that it's not. We're taken on a delightful journey to a forgotten land, joined by characters that have noticeable chemistry together, and dialogue that provides genuine laughs in unexpected fashions.

Of course, this isn't high art, nor is it equipped with all of the nuts and bolts to build a fortified blockbuster. The quality of the CGI is noticeably lacking, providing some chilling and unsettling renders of live action Boots the Monkey, Map, and Backpack - all of which look like how they might appear in your fever dream. The dialogue and one liners also fall into the trap of "Erm... He's right behind us, isn't he?", creating moments of cringe that couldn't be avoided.

I can comfortably say that I really enjoyed this movie. It provides an imperfect, but lighthearted and fun adventure with a more mature and palatable version of our titular explorer. Former fans of the cartoon, along with parents of new fans, will find joy here, continuing the Dora legacy in a refreshing reimagining.

Wes Anderson is a director has never been a director that spawns the phrase "you've seen one, you've seen them all". I cannot recall two of his works that are enough alike that I could confuse them. Each story that is put to picture and sound from him has a unique and distinct voice, while also possessing the innate ability to easily recognize a film as Anderson's work.

The Wonderful Story of Henry Sugar is the 2nd adaptation that Anderson has brought to the screen from author and screenwriter Roald Dahl, preceded by The Fantastic Mr. Fox. You are introduced to your titular main character and are immediately and gently led through his journey to enlightenment. The film wastes no time in drawing you in with it's visuals, characters, and music.

The art direction of this film is unlike anything I can recall. The best way I can describe it is the feeling that I'm being led through a storybook - a memoir of lives long past. The characters narrate the story as they experience before them, providing an insight into these characters and how this story affects them personally in a way that other films may leave you guessing. It's through this clarity that you find an enriching story, a connection to the words that are streaming at you without any difficulty in comprehension.

The only thing that I can see turning some viewers away is the delivery of this story. The aforementioned narration is fast, unyeilding, and thorough, but not in a way that gives you verbal whiplash. It creates a laugh without distracting you, vying for laughs in the delivery and atmosphere alone. The acting prowess of all involved is on full display in recanting this tale without missing a beat. It's almost as if the film is asking you to remember it after it's over, filling your mind with introspection.

I wouldn't miss out on this one. Even if you're not an Anderson fan, its 40-minute runtime will leave you enchanted and planning your next viewing. Good luck at the Oscars, Wes.

Horror legend Stephen King has aptly described terror in its rawest forms, my favorite being: "Terror, when you come home and notice everything you own had been taken away and replaced by an exact substitute." However, what if the thing that was taken from your home was your own flesh and blood?

The Hole in the Ground burrows this question into your psyche, and is born, grown, and flourished in this kind of visceral terror. This is a divisive movie, with critics and audiences at odds with their opinions on this UK film. I find myself siding with the critics with this one. More than its premise suggests, the internal pressure that grows within this movie is immense, tricking you before your very eyes from scene to scene. This deliberate confusion and trickery is weaponized to keep you guessing, hoping that your horror film detective skills are still sharp. Keeping the viewer in suspension is a mental and emotional threat.

The acting is superb - particularly from Seana Kerslake, James Cosmo, and James Quinn Markey. The believable performances add a sense of realism and humanity where many movies like this fail - which can make or break a horror film in its first act. Along with this is the movie's brilliant set design, exemplifying the creeping isolation and helplessness apparent from its first act. Very limited on jumpscares, many of this movie's scares are cultivated through ambiguity and limited vision - always big points from me.

The only thing that docks this film for me is its use of the "creepy old lady saying ominous things to kids" trope - a tired concept that did cause a brief eyeroll from me, even though Kati Outinen played slightly-cliched Noreen Brady with style and finesse.

I am not grading this based on the original or groundbreaking qualities that some were hoping this would create. I don't believe that films in the horror genre need to be the next best thing since The Exorcist. A good horror movie needs to make you feel unsafe, alone, and wondering.

Good work, The Hole in the Ground.

Sci-fi flicks from the 2000's pique nostalgia from me. It takes me back to a simpler time, where there were no such thing as bad movies, and every movie offered something that none of the others could, whatever that might have been. There were some movies that your parents told you you weren't allowed to watch, and had to rely on the cunning kindness of friends with more lenient parents who were willing to take you to Blockbuster to rent them for your sleepover.

20 years later, unfortunately, I now know that bad movies exist - even worse, that so many of the sci-fi flicks that I remember from my formative years are not only bad, but lacking originality, blending in with all of their silver screen cousins - and I can watch them whenever I want.

Decoys does you no favors. It provides a thinly-veiled plot that is strung along loosley by our cast who can't seem to find the mark between "underacting" and "overacting", leaving the performances with much to be desired in the way of connecting with its audience - whatever audience that is. I struggle to find anything of true substance in another sci-fi popcorn flick that boils down to "hot alien babes want to take over MY school?!"

Though wading through the thick waters of gratuitous nudity, cheap CGI, and the tour de force of himbos, one scene did stick out to me among the rest: the ambulance and hospital scenes toward the end of the film. I don't know how, but the emotional scene shared by Corey Seiver and Elias Toufexis left me feeling something. Notably, Seiver gave this film his all, and I have great respect for an actor who can give it all away, even in a film like this, destined to collect dust in a box of old VHS tapes.

Overall, while serveral of this film's core elements struck me as redundant, outplayed, and cheesy beyond belief, I did glean a good amount of fun and laughs. Pick this up if you and your buddies are looking for something to mindlessly watch on a Saturday night - just like the good ol' days.