2010s
Papi Chulo is executed so exceptionally well and clearly with such care, that emotion pours out of the screen.
Fuck You All: The Uwe Boll Story is a film that is as direct as its title, and is an interesting insight into what makes a man like Uwe Bill tick.
While it may stumble under the weight of its own plot, Recovery is flawed, but it’s fun with moments that are really worth checking out.
Jupiter Ascending was a critical and a box office failure. Aaron Berry examines it from the point of view of the directors’ own transition.
Endzeit (Ever After) is a breath of fresh air to see that there can still be originality in a tired troupe, a refreshing take on the apocalypse.
Murder Mystery is a generic comedy from Adam Sandler, but thankfully never up there with the actor’s worst efforts. Mark MacPherson reviews.
With deeply moving and dynamic performances top to bottom, American Woman is a powerhouse of a film.
Toy Story 4 is the finest of the Toy Story sequels, and if it’s the start of a second trilogy, then we’ll follow it to infinity and beyond.
With poor dialogue and a failed execution, Hallowed Ground is a massive disappointment and just might be one of the worst films of 2019.
#like explores violence against women in an interesting way, but feels convoluted at times. Zoe Crombie reviews.
Episode 6 of The Spanish Princess ups the ante with more death, ambition and romance. Katy Kostakis reviews.
Men In Black: International doesn’t work like it should, but Kumail Nanjiani is a standout in this mediocre entry to the franchise. Alex Arabian reviews.
Wade in the Water is raw, supplying dialogue that’s probably too forthright for Hollywood, but it also pulls off something inventive and darkly funny.
Katie Says Goodbye proves playing an uplifting song at the end of a film doesn’t resolve the absence of thematic meaning that was lacking throughout the entire movie.
Frivolous in treatment and a trailer more impactful than the film itself, Loners never understands its true potential.