For the first of the three distinct acts that make up The Perfection, it feels like we’re watching a brisk, tightly wound horror film, clever and stylish; then it goes downhill, wasting talented performers and beautiful cinematography.
For the first of the three distinct acts that make up The Perfection, it feels like we’re watching a brisk, tightly wound horror film, clever and stylish; then it goes downhill, wasting talented performers and beautiful cinematography.
If you haven’t seen Parasite, and you’re here because you’re planning to: I envy you, because you’re about to go on a wild ride.
High Life tells a story of life in emptiness, of being alone in the void. It is deliberately paced, and mesmerizing in its own way.
Booksmart is everything a teen comedy could ever aspire to be: it’s razor sharp, it’s quick on its feet, it’s full of love and tenderness, it’s original, it’s uplifting, and as if that wasn’t enough, yes, it is a comedy, and it’s hilarious. Olivia Wilde directed a treasure of a movie, and you cannot watch it soon enough.
The John Wick series has mastered the craft of practical action to perfection, and this instalment does not disappoint.
This leisurely walk towards the end times is not without its charms, but as the thin plot nears the end it becomes apparent that there’s no conclusion in reach, no final destination.
Julianne Moore is phenomenal in a subtle and grounded role, a tender and lived-in story of a woman in search of more.
Natalie Portman delivers a great performance as a volatile pop star in Vox Lux.
Synonymes is an interesting look at Parisian life through the eyes of a charismatic protagonist, but it loses its way towards the end.
This, too, is what we go to the movies for: to be awed, to be shocked, to be engrossed by stories of space travel and insurmountable odds and valiant heroes. In that regard, Endgame really is something else.