The world hasn’t seen this kind of dedication to organization since the Nazis stormed into Poland.
Time and again, Aftersun teases a large reveal only to end up in the most boring of all possible endings.
Halloween Ends disappoints on many levels with its boring pace and questionable approach as the equivalent of that house on October 31 that gives out healthy snacks instead of full-size candy bars.
Triangle of Sadness pulls you into its world with the ease of a master hypnotist.
Amsterdam is a plethora of pomp, but little requisite circumstance.
Blonde’s platinum sheen is nothing more than a dime-store dye job.
An economy-class ticket has rarely been this entertaining.
Elvis collapses under the weight of its director’s ambitions and style instead of letting its standout lead re-create more key moments in the icon’s life.
The Black Phone perfectly mixes ghosts, survival, revenge and a memorable maniac for a horror flick that builds to a thrilling climax.
Luhrmann’s technique had my toes tapping, but left my intrigue lacking.
Lightyear mixes emotions from Up and physics from Interstellar for a disappointing animated retcon of the beloved titular character.