“Extra Ordinary”; “Hope Gap”
“Clemency”; “Swift”; “We Bare Bears: The Movie”
With “Arkansas,” Duke has proven that he can make a pretty great Coen brothers movie. I just hope he is given a chance to make a pretty great Clark Duke movie at some point.
“Scoob!,” for all its faults, has no shortage of interesting ideas. And although it’s a strange trip of a movie, it’s also the only one you’ll see all year that features both Jabberjaw the shark and NPR personality Ira Glass. So there’s that.
If you are going to make a romantic comedy with no romance and very little comedy, why would you want to tell this story?
It’s more well-meaning than it is moving, easier to admire than it is to like.
“Trolls just want to have fun,” we’re told early in “World Tour.” Well, mission accomplished.
In the course of just six months, we have published 100 reviews and written over 89,000 words. Since our formation, Static and Screen has had over 1,400 views from 300 visitors from 17 different countries. I’m very proud of how far we’ve come and look forward to the next 100 reviews.
By depicting the brutality of the Soviet regime, Holland reminds us of the value of human life and of the press, and how the latter has an integral role in preserving the former.
“Four Kids and It” is not bad enough that I would wish it out of existence if I encountered by own wish-granting Psammead. But would I ask the magical creature to give me my two hours back? You bet I would.
Even as the impossibilities of the plot swirl around them like a gathering storm, Oyelowo and Reid stand firm as the film’s emotional anchors.
While it’s not quite bad enough to make you long for the bad old days of “jiggle TV,” it’s also hard to shake the feeling that the old “Angels,” as offensive as it was, was at least a little more fun than this.
“After Class” is a withering, brutal, uncomfortable and often laugh-out-loud hilarious film. Schechter takes an early line from Josh – “write what hurts”- and makes it his film’s thesis. Not everybody will embrace the film, but I think many people will find value in the challenging, morally ambiguous questions it asks.
“Same God” is a film worth wrestling with, worth discussing and debating because it asks questions that cut deep into the heart of America. These questions matter almost as much as the answers, and the first step toward uniting this divided nation is asking them.
Like the evil cloners at the film’s center, Lee spent so much time obsessing over whether he could make “Gemini Man” that he didn’t bother to ask whether he should.
Could another filmmaker have told this story with more nuance? Almost certainly. Would it have been better? I’m not sure. In telling the stories of serial abusers like Ailes, nuance can feel a little bit like using kid gloves. Sometimes, you need to scream these stories from the rooftops in order to get your point across. That’s what “Bombshell” does. And it works.