Despite a well-mounted cast and one of the best cinematographers working today contributing to the project, Alex Scharfman’s ‘Death of a Unicorn’ is yet another bad film from a studio that is in desperate need of reinvention.
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Mark Anthony Green’s ‘Opus’ recycles the aesthetics and tropes A24 has firmly established itself upon and may accidentally reveal that their brand of “elevated” independent entertainment has grown stale after over a decade of films on the big screen.
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Paolo Sorrentino looks at youth’s deepest regrets as time goes by in ‘Parthenope,’ a study on how we we choose to spend the finite period we have on this planet.
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Renée Zellweger gives her best and most vulnerable performance of Bridget Jones in the fourth instalment, ‘Mad About the Boy’ which pieces the titular character’s life back together in the wake of insurmountable loss.
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Ke Huy Quan finally has an action vehicle to his name with ‘Love Hurts’, but his effervescent performance sadly can’t overcome the many hurdles this 83-minute-long affair is sadly stuck in.
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Amy Schumer and Tyler Spindel destroy the joyful nature of screwball comedies with the horrifically unfunny ‘Kinda Pregnant’, which gets progressively worse as its eternal ninety-minute runtime stretches to unbearable heights.
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Christopher Abbott’s towering lead performance elevates ‘Bring Them Down’ from petering out, but the film itself leaves a lot to be desired when it unjustifiably switches perspectives halfway through.
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Walter Salles attempts to denounce Brazil’s military dictatorship in his family drama ‘I’m Still Here’ but accomplishes very little despite a committed performance by Fernanda Torres.
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Keke Palmer and SZA make one hell of a comedic duo in the uproariously funny ‘One of Them Days’, a perfect January surprise for moviegoers looking for pure escapism.
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Leigh Whannell reinvigorates interest in the werewolf through his frequently thrilling ‘Wolf Man’, even if the movie stumbles as it reaches its uneventful conclusion.
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While stars Nicole Kidman and Antonio Banderas give their all in ‘Babygirl’, the film is hindered by a severe lack of chemistry with its lead star and a profoundly miscast Harris Dickinson.
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Tim Fehlbaum’s attempt at criticizing the normative ideals of journalistic objectivity in ‘September 5’ turns into a total and complete failure by being afraid of engaging itself with the backdrop it presents.
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William Goldenberg energetically depicts Anthony Robles' inspiring story in ‘Unstoppable’, a sports drama anchored by compelling turns from Jharrel Jerome, Don Cheadle, and Jennifer Lopez.
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Tyler Thomas Taormina depicts the euphoric chaos of Christmastime unlike any filmmaker has ever showcased in ‘Christmas Eve in Miller’s Point’. Yet there are glaring flaws that prevent it from becoming the next great Christmas classic.
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Despite an assured visual style, Steve McQueen’s latest fiction film, ‘Blitz’, is an often muddled and dull drama that doesn’t know what it wants to say about the central characters it focuses on.
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Clint Eastwood gives aspiring filmmakers a true lesson in shot-reverse-shot with ‘Juror #2’, a gripping procedural thriller on the fallacies of our legal system(s).
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Liam Neeson gives his all for the first time in a long time in ‘Absolution’, even if the material he has to work with tends to be on the muddled side.
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Robert Zemeckis teams up with Tom Hanks and AI, but the garish experiment simply becomes non-linear, static and a complete miss. The resulting film is ‘Here’, and it is just as baffling as you think.
Read More![‘Bird’ Review: Andrea Arnold’s Disappointing Shift Into Magical Realism [Festival du Nouveau Cinéma 2024]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1729966715231-RY70K6BXW6YBTW0ZHBSD/ezgif-6-aa2baecb29+%281%29.jpg)
Andrea Arnold turns her social realist lens into a magical one with ‘Bird’ and fails at drawing any meaningful arcs on its central characters despite a constantly assured stylistic touch.
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Nick Park and Merlin Crossingham warn society against the use of Artificial Intelligence through the figures of Wallace and Gromit in their latest feature, Vengeance Most Fowl.
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