Reviews (471)

  • Based off of the trailers and general announcement of this film, I didn't have a ton of hope for a solid adaptation; however, I was pleasantly surprised with how much fun this film was. I think some nice casting and overall clever writing really elevates this above most of its peers. Having a seasoned comedy duo handle the writing and directing was a good choice by Paramount.

    Chris Pine is the shining star here, obvious given he is the best Hollywood Chris, but Hugh Grant also seems to be having a blast in his role as he chews up the scenery. I love Grant in his recent over-the-top comedic roles he's been transitioning to. I really found this film to be a fun time and it utilizes its fantasy elements quite well and in a way that anyone can enjoy this adventure movie.
  • I'm not quite sure what I expected heading into this film given the quite provocative title, but Cocaine Bear still manages to be a wild, surprising experience.

    There are a LOT of characters and I think the movie would've been better served by focusing on just a few of them. I was surprised by how many solid laughs there are throughout, but as a whole, the comedy is fairly hit or miss. This film is also surprisingly violent. Like very violent and graphic. I didn't expect this much full on body horror from a movie about a bear snorting cocaine.

    It's all fine. I don't think it fully embraces its crazy concept, but it does enough with it.

    Also, The Americans cast reunion was pretty hilarious.
  • I didn't expect much from a 2023 reboot/sequel of Evil Dead that was originally earmarked as a MAX Original, but I was pleasantly surprised with how much I enjoyed this. It finds a new spin on the Evil Dead formula, while managing to stay relatively true to the originals.

    It could have used a little more Evil Dead goofiness and is lacking a bit in character development, but it makes up for it with some inventive gore. I even cringed a few times at some of the horror scenes, which isn't too typical for me. There are some really bold decisions here too, which shocked me given how most horror films operate.

    I don't think this will become a classic or anything; however, it should remain a fairly solid continuation of a dormant, beloved franchise.
  • This truly feels like the end of the Golden Age of the MCU. We're saying goodbye to characters we've been with for nearly 10 years. I had faith in James Gunn to pull off a fitting farewell, and that faith was rewarded. Vol. 3 is a heartbreaking, emotional departure for these beloved characters. Rocket takes most of the spotlight in this threequel, but every character manages to get their shine and receives a suitable sendoff. I'm honestly impressed that Gunn found a perfect way to close each character's chapter and did so without resorting to cop out deaths.

    In true Gunn fashion, the production design and worlds are weirder than ever. The visuals and colors are always a highlight of these films. The soundtrack is no different. Awesome Mix Vol. 3 has plenty of bangers, with one Beastie Boys scene as the highlight of the film for sure. I was prepared for an emotional story, but man, I wasn't prepared for all of the feels from the animals. Contrasted with that is the truly terrifying villain. The High Evolutionary is a real standout amongst the long list of MCU villains for being genuinely repulsive, yet simultaneously compelling.

    Excluding No Way Home, GOTG 3 is my favorite Marvel film since Endgame. It did everything it needed to do and more. I'm hoping this is a sign of things to come for Marvel, and is not solely due to the immense passion and talent of now studio rival James Gunn.
  • Seeing Guy Ritchie attached to a new spy film is always a good way to get my excitement up. He makes some of the most enjoyable capers in cinema and he rarely misses. Operation Fortune is no different, as the Jason Statham-fronted vehicle pretty nicely chugs along without too many bumps. That's not to say there aren't any, as there does seem to be a little something missing from this to really kick it into the upper echelon of recent spy films, but Aubrey Plaza's wit and charm alone is mostly enough to make for a fun watch.

    Cary Elwes is delightful in his role and I'd love to see him in more similar parts, as well as Josh Hartnett. The action is decent, if maybe a bit undercooked and there's plenty of fun globe-trotting and espionage. I do think the story ends up being a little lackluster, but it doesn't hold the film back too much.
  • Not being a huge fan of the original film, I was quite surprised to find myself enjoying this sequel more than the first film. The original was the definition of the lazy, unnecessary fluff that Netflix Originals have become known for embodying. While this sequel still won't blow the doors off of cinema, it at least has some more self-awareness and fun. The jokes are better than expected and Sandler in particular is much more on point here.

    Throw in some amusing side roles and Murder Mystery 2 has more energy to it than one might expect. It still has the clichéd script, predictable twists, and borderline acting you come to associate with this type of film, but it's a solid turn-your-brain-off diversion.
  • There's not a whole lot here, but what is here is at least mildly entertaining. It's a cliché, saccharine story that isn't anything we haven't seen before. The leads are all obviously pretty experienced and know what they're doing. It's not terribly funny, but it's at least watchable, if only for Tom Brady's unbelievably atrocious acting. As a big Patriots hater too, it was bit rough watching all of the slurping up of Brady and the Patriots. At least this is based on a true story though.

    You can feel comfortable having this on in the background while doing other things knowing that you probably won't miss out on very much.
  • Illumination could have completely phoned it on on this film, as an animated movie starring Nintendo's most beloved characters was pretty well guaranteed to make bank. I'm impressed with how much care and respect actually went into this film. Fans of Mario and Co. Will appreciate all of the clever references and amusing jokes left for those of us older fans. Meanwhile, kids alike will eat up the colorful visuals and funny gags.

    The story is light, as you might expect, but it's more than serviceable. The 90 minute runtime means the film never lets its foot off the gas. Pratt's voice isn't as distracting as I worried it might be, while Charlie Day and Jack Black steal the show with their brilliant casting. They definitely updated Peach with a splash of #GirlPower, but it's still Mario and Luigi's movie at its heart. Throw in some enticing after credits scenes and we have the makings of a full-blown mega-hit franchise.
  • It's almost unbelievable how this franchise continues to top itself film after film. Just when you think you've seen everything there is to do with action, John Wick: Chapter 4 comes along and flips the entire genre on its head. This is an emotional, propulsive classic that more than justifies its epic runtime.

    The set pieces are bigger and better than you've ever seen. It's incredible how much innovative action Stahelski can still conjure up. This series continues its rich tradition of exceptional lore and world building. Combined with some truly beautiful imagery and balletic fight scenes, this fourth film is a joy to behold. No action film utilizes color and atmosphere quite like John Wick, as scene after scene looks like it could be a painting in the Louvre. This legendary film franchise reaches its grand conclusion in epic fashion. It's genuinely sad to see this iconic series come to an end. Or does it?
  • Your enjoyment of this film will very likely hinge on how long you can tolerate Billy Eichner and his shtick. He is almost unbearable at the onset of the film, and while he gets better as it progresses, he can still be difficult to root for. Bros also tries its hardest to push its way out from the rest of the pack, but falls back on lots of genre conventions.

    There are some genuinely clever bits strewn throughout and I found myself actually amused more than I expected. The film can be pretty in your face at times, largely due to Eichner and his towering personality, however Bros shines when it showcases its two leads' chemistry and rapport.
  • Warning: Spoilers
    Scream VI is a marked improvement over its predecessor and safely lands as the best Scream film since the original. The decision to move the setting to NYC was a great one as the new environment leads to several fun set pieces. The opening is fantastic and maybe the best in the series. One of the more surprising elements is how absolutely brutal the kills are. I cringed a few times, which is rare for me.

    The film is of course meta, but tones it down from the last film and handles it much better. My main criticism will have to be the reveal of Ghostface and his kills. They went in a bit of an obvious direction for who Ghostface was and if you were paying attention, there were some clues that spoiled it a bit. Also, my god the number of times you can get stabbed in this movie and miraculously survive. Having all the main characters survive after certain death really lessened the stakes and was a bit annoying at the end. However, the rest of the film is so solid that I can overlook most of my issues.
  • I really think this film would be doing much better at the box office with a better title and clearer marketing. This is a more than serviceable action thriller starring a legitimate star that is mostly entertaining for its 90 minute runtime.

    The CGI is surprisingly good given the small budget and it's cool seeing dinos in a non-Jurassic Park film. The story is probably the weakest element given its cliched beats and real Last of Us vibe. Some wooden dialogue and lack of exposition round out my critiques. I liked the futuristic tech in the film and Driver delivers an expected solid showing. 65 won't light the genre on fire, but it's better than it's getting credit for.
  • I really enjoyed the intimate setting of the film. Some may criticize the "play-like" atmosphere, but at the end of the day, it doesn't matter if it makes sense for the story, and the story is really affecting. I bought into all of the characters' traits and motivations. It just felt very real, in a way that most films can't pull off.

    There are some obvious parallels to another Aronofsky master class, The Wrestler, which is one of my favorite films. Similarly, the lead performance should win an Oscar due to the power and genuine pathos. The Whale is one of the most profound films you will see all year. As long as you're astute enough to realize this isn't a point-and-laugh sideshow, but a poignant portrait of someone with a crippling addiction, you'll find a moving story from one of our boldest directors.
  • It's hard to come across a more brutal, in-your-face film this year than All Quiet on the Western Front. Frame after frame is filled with stunning cinematography of disturbing atrocities. It's well-worn ground, but this film does manage to provide a modest update of a classic film.

    The horrors of war are the big theme here as you follow several young soldiers over their time in the war. WWI trench scenes have been nailed the last few years (Wonder Woman, 1917, The King's Man), however the camerawork, score, and direction at work here lends a new perspective. Detractors may go after the changes from the novel and character development, but I didn't mind it too much.
  • This is the most Baz Luhrman film you could expect, for better or worse. There's a wild energy and extravagance, combined with lots of jarring cuts and musical choices. Austin Butler is really great in the role. Not Oscar-worthy in my opinion, but a career-making performance for sure.

    Tom Hanks... boy oh boy I'm not sure what he or Luhrman were thinking with this role. The accent is so ridiculous it threatens to take you out of the movie. It gets more tolerable as the film progresses, but the first act is pretty rough largely because of it, along with some scattershot editing and storytelling. Framing the story from Parker's perspective was certainly a choice as well.

    When Elvis is focused on its titular icon, the film wiggles along with bustling energy. It can just get a bit buried in an extensive runtime. I wouldn't say I have a burning love for Elvis, but I'd recommend it for those looking for a biopic that plays it pretty safe and has lots of fun concert scenes.
  • For more than just its subject matter, Women Talking can be a challenging viewing experience. Covering a topic like this will always lead to a divided response, however when your film lacks a lot of forward momentum and it looks like you set color grading to monochrome, it becomes an even bigger uphill climb. I understand the color is intentional, but it didn't work for me. The story also can drag a bit when you realize 20 minutes in exactly where it's going. I must say I didn't expect the shortest Oscar film this year to be the one that lagged the most.

    I do appreciate the photography, I just wish it wasn't so lifeless. The cast is also outstanding and it's hard to pinpoint one person in particular that stood out. My pick would probably be Rooney Mara. I also appreciated casting the sweetest man on the planet, Ben Whishaw, in his role. The dialogue is well-written, however it just feels a bit pointless at times with the story direction.
  • Watcher is pretty much exactly what I hoped it would be. I love this type of thriller and find much more genuine fear and uneasiness from horror films that utilize atmosphere and the real world like this. Maika Monroe was an inspired choice for the lead as she has a very unassuming and endearing quality to her.

    There are a few decision-making issues like with pretty much all thrillers like this, but the good far outweighs the bad here. Chloe Okuno commands her craft well here by conjuring up a tense, chilling thriller that leaves you with more to think about than you may expect with this type of film.
  • There's nothing particularly new here that hasn't been said before, but you have to admire the craftsmanship and performances. I'm all for a good lambasting of the out of touch wealthy, so this was up my alley. This film was more humorous than I anticipated, which was good since this balanced out some of the "hit you over the head" commentary about class. It reminds me of Don't Look Up with its repeated message in a bit of a bloated runtime.

    Triangle of Sadness can be a bit of a difficult watch at times due to its gross out style, however if you can stomach all of that, there's some pointed satire and humor that makes for hearty entertainment.
  • While this might end up being my least favorite of the three Creed films, I still found it to be an emotionally affecting and entertaining film. Majors is the clear standout here as he brings such pain and anger to his character with just a look. Similar to Creed II, you almost feel more sympathy towards the antagonist because of how well-written he is. Jordan is reliably strong though and does an admirable job behind the camera. I appreciated a lot of the risks he took and hope he gets more chances to refine his style.

    Not everything is roses though, as the absence of the Rocky theme and Ludwig Goransson is strongly felt. The first two Creed films have incredible scores, so I found myself feeling something was missing during the training montage and final fight. The film also loses some of its energy in the 2nd half when Majors sort of disappears. He's electric on screen and his boxing style is ferocious to say the least, so he deserved a little more focus in the 3rd act.

    Creed III keeps this franchise fighting above its weight class and I'm excited to see where they go from here.
  • No, this isn't prime firing-on-all-cylinders Shyamalan, but it's still an enjoyable hour and a half at the movies. My attention was kept for the entire runtime and I was curious to see where the story would go. I think it's a disservice to the film to go in expecting some crazy Shyamalanian twist. You should judge it for what it is, not based on your expectations for the director. If you have issues with the divergence from the book, that's a fair criticism. I haven't read it, but I can understand people liking that ending more.

    Dave Bautista gives an incredibly thoughtful, nuanced performance that might be the best of his career thus far. M. Night's camerawork continues to be a highlight in his films as I really enjoyed a lot of the interesting angles he shot with. Knock at the Cabin may not proceed in any wild directions, but I enjoyed it for what it was.
  • This has the feel of a recent Disney Animated film, which is definitely a compliment. From a story that has some real weight to it, to a tiny, cute creature that never fails to provide genuine laughs, Chris Williams really has it all down from his time directing some of Disney's best animated films.

    I was surprised by the route they took with the story, as I thought it would be a simple beast hunting plot. The Sea Beast has some real How to Train Your Dragon vibes and it honestly worked for me. It hits a lot of the expected story beats, but when your film is this delightful, you really don't mind. I hope Netflix continues to produce this kind of quality animated fare.
  • She Said doesn't really add anything new to the genre that All the President's Men and Spotlight haven't already perfected, but it's fairly watchable and helps you appreciate how powerless so many women can feel in awful situations like these.

    Mulligan and Kazan do the heavy-lifting with this fact-based story and they're both solid in their roles. I do find it a bit ironic that in this story about Hollywood power and influence, the granddaughter of Elia Kazan, one of the most famous and controversial filmmakers ever, is front and center. It's also a bit rich for Hollywood to be the ones making this film and patting themselves on the back for doing the right thing, when a lot of them knowingly allowed Weinstein to operate for decades.

    She Said isn't groundbreaking and isn't too far off from being called bland, but if you can overlook some of the problems behind the scenes, there is a relatively decent film here.
  • It's a bit ridiculous you manage to get Reese Witherspoon and Ashton Kutcher to sign on for this mediocre rom-com, yet spend nearly the entire runtime with them on opposite sides of the country. No, the split screen phone conversations don't count. It's just a bit crazy that you have genuine Hollywood stars and you fail to capitalize on their banter and chemistry together.

    What this leaves is an occasionally interesting, but more often lackluster Netflix Original. We've seen the story a thousand times and there's not really any new spin on it here. That's not to say there's nothing to like here, as it's a relatively harmless, light film. However, it just really feels like this could've had some more inspired dialogue, story beats, and character work on the journey to the expected finale. I'm not trying to sound like I hate movies you can predict, as I generally enjoy rom-coms and their big, cliched finale. This just felt like one that had potential to elevate a bit higher than most, but settles for being 2 hours of your life you likely won't remember much about or wish to revisit.
  • Warning: Spoilers
    After most entries in Phase 4 passed by without doing much to set up the next big bad in the MCU, I was eagerly anticipating this film given it would be the big screen introduction of Kang. While Majors shines as Kang, the rest of the film and even some of the narrative choices with Kang leave a bit of a "meh" feeling.

    As far as positives, Paul Rudd remains as endearing as ever. MODOK is a tad jarring, but I liked the tie-in to Yellowjacket. The visuals are solid and it's a very colorful movie. Majors truly has a magnetic presence on screen and I found his dialogues and conversations to be very compelling.

    For negatives, there aren't really any arcs for the characters and Ant-Man himself ends up in literally the same place (on the sidewalk thinking about how good his life is) as the beginning of the film. Scott's cohorts aren't given much to do either. The MCU hallmark of jokes undercutting serious moments unfortunately continues and honestly the comedy really didn't land as well as the first two films. I also got major Rise of Skywalker vibes with the cliche "everyone in the rebellion shows up to fight the space troopers at the end."

    However, my big issue with the film is the ending. This movie felt like it should've had some major consequences to establish Kang as an Avengers-level threat. Having Scott and Hope dispatch him while a portal opens up to save them literally seconds after you thought they might get trapped in the Quantum Realm or Kang would escape was eyeroll-inducing. The Council of Kangs scene was also almost more goofy than menacing.

    I'm hopeful that Feige can right the ship and get the Multiverse Saga to Infinity Saga levels of hype, but right now I'm just left not feeling much. I never thought I'd say this, but I think I'm currently looking forward more to seeing how The Flash movie resets the DCU than how the MCU multiverse plays out.
  • It's been some time that I've been so bewildered and frustrated watching a film.

    This very talented cast is absolutely wasted on a terrible script filled with inane and outdated jokes. It's 2023, I think we've moved beyond the ridiculous viewpoints and stereotypes displayed in this film. The characters behave in such ridiculous ways. Eddie Murphy suddenly just decides to stop being a racist piece of crap and Julia Louis-Dreyfus has an awakening about how to speak to black people normally. It's all just so freaking annoying to watch.

    Hill and London also have net zero chemistry between them, which funny enough, really tends to tank a romantic comedy.
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