United States
On the Basis of Sex is not likely to plant the seed of determination in the next RBG, as they don’t need pop feminist representations of even the most laudable of figures.
Glass may have been a film nineteen years in the making, but it feels superfluous and incredibly out of touch in a world littered with superhero films.
A thriller like Escape Room is a good time so long as you switch your brain to “just go with it” mode.
Close is frustratingly shallow, and in its breakneck pace leaves some of its character development in the dust, while trying to wring every bit of emotion out of its quieter moments.
A Dog’s Way Home is predictable but effective – although its cuteness does eventually outstay its welcome.
An Acceptable Loss opens with a big, burning question mark that hooks you, but rather than answering its core moral question, it simplifies the conversation.
Murder Mountain is a fascinating insight into unique communities, unexplored lands, and disenfranchised voices – and isn’t that the point of a documentary in the first place?
Writer/director Melissa B. Miller Costanzo’s feature debut touches on the complex nature of relationships with a stunning visual eye, resulting in a thought-provoking journey into the ill-defined nature of transitioning into adulthood.
Blood Bound is a good film to watch if you’re looking for 98-minutes of chuckles and seat-squirming, but you’ll still be abundantly aware that it could’ve been a whole lot more.
The Upside is occasionally funny and charming, but mostly wastes the talent of those involved, becoming a lackluster remake of the French film.
Backtrace is too ridiculous and underwritten to be a full-fledged crime thriller and too self-serious to be an enjoyable B-movie.
The Pinch is occasionally funny, occasionally violent, and occasionally surprising, which makes for a just about passable watch.
All the Devil’s Men is a montage of cheap jokes and even cheaper action sequences, offering nothing new to the espionage genre.
Already considered by many as the worst film of all time, Holmes & Watson is likely to make even the least demanding cinema-goers feel as if they’ve had their intelligence insulted.
While not quite as offensive as Gotti, Speed Kills is just as disposable, with Travolta yet again starring in an incompetent and unimaginative feature.