|
Elvis
|
Despite some unformed or clunky notions about the icon's cultural
impact, Elvis is a big, bold, and
just-unconventional-enough piece of biography.
|
The
Black Phone
|
The
film isn't much more than a
dark and disturbing game, but the filmmaker plays it so well that there's little
reason to care about the film doing much more.
|
Rise
|
This story remains about the entire family on a fundamental
level.
|
|
The
Man from Toronto
|
We can forgive
the screenplay for taking some license with
believability in order to arrive at its gimmick. As for the actual execution, well, the human capacity for forgiveness has its limits.
|
Beavis
and Butt-Head Do the Universe
|
Beavis
and Butt-Head Do the Universe shows that the two have a comedic quality that is—as odd as it may
seem to say such a thing—timeless and universal.
|
Flux
Gourmet
|
There's such a thick layer of
detachment that there's little means or
opportunity to dig beneath the movie's absurd surface.
|
|
Press
Play
|
The movie sidesteps the
deeper ideas about the persistence of grief, love, and the fleeting nature of
things for a tale that's mostly about plotting.
|
Murder
at Yellowstone City
|
Ambition gets in the way of a potentially
cracking mystery and a more restrained character study.
|
Cryo
|
This
story starts to spin its wheels pretty
early.
|
|
Beba
|
We get a final sense that the
experience of making it was probably more rewarding for
the filmmaker than the experience of watching it is for us.
|
Apples
|
Apples digs into the despairing
idea that the only curse worse than forgetting might be remembering.
|
A
Man of Integrity
|
Mohammad Rasoulof's
film plays as a
low-key thriller and, on a more human level, a tragedy about what fear, helplessness,
and hopelessness can do to a person.
|
|
|
|
Olga
|
The movie can
only dig so far before it starts to feel repetitive and too far
removed from a greater context.
|
|
|
