Returning director Andy Muschietti draws every ounce of stress out of every nail-biting sequence.
Author Rich Heimlich
I love movies, tech, politics, games and more. I've been writing professionally since 1985 and, thankfully, have worked with some of the best editors in the business. I'm also a proud member of the Philadelphia Film Critics Circle and the Broadcast Film Critics Association (Critics Choice Awards).
Picks itself up from a trash heap of clichés and ill-conceived casting to overcome its flawed foundation.
There’s just one major problem with the whole affair: it’s morbid.
The fourth installment of this venerable franchise returns with a surprisingly touching tale.
Starts off with a dramatic opening scene that’s vintage Elton, but soon bogs down under the weight of an unmistakable identity crisis.
If you can stave off the initial boredom, the plot takes off like a rocket for the film’s second half.
It packs a lesson every bit as pertinent today as it was nearly five decades ago.
Us evokes the best works of Stanley Kubrick, Alfred Hitchcock and David Lynch.
I’ve been engaged by 30-second commercials for schmaltzy Hallmark Channel love stories more deeply.