Posts in ADVANCE MOVIE REVIEW
MOVIE REVIEW: Trolls Band Together

Just like the first film that crescendo-ed with the Oscar-nominated “Can’t Stop The Feeling,” the high point of Trolls Band Together arrives with its signature song “Better Place.” It’s sung first by the combined cast during the plot while *NSYNC takes over for the full version over the closing credits. It’s an earworm of a pop ditty and siren’s song for the moms and dads. If “Better Place” were any catchier, it would be made of Velcro, require a multi-stage emergency vaccine, and required to be gloved by MLB All-Star J.T. Realmuto.

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MOVIE REVIEW: Killers of the Flower Moon

For better or worse, that’s a microcosm of the entirety of Martin Scorsese’s Killers of the Flower Moon. As helpful as Robertson’s plucked metronome is to fill voids and create a foreboding cinematic heartbeat, your own pulse rate ends up matching that placidness. No matter what heinous deception, jarring murder, or well-appointed finery appears on screen, very little in the film intensifies or accelerates beyond that methodical drowning dirge.

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MOVIE REVIEW: Mission: Impossible - Dead Reckoning Part One

After nearly 30 years, we are locked in and present for all that these dire missions entail– consequences and all, hope and all. We’ve made our choice and signed our own oath of fandom to chase our own tails and hang on every clue. Give us one more adventure, Tom. We’re as ready and committed as you are.

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MOVIE REVIEW: Indiana Jones and the Dial of Destiny

For the second film in 34 years, a new Indiana Jones film cheapens the perfect ending they already had. Make no mistake, the sunset ride of Indiana Jones the the Last Crusade was a “come back with your shield or on it” moment that cannot be topped. Yet, here we are, watching a studio milk an intellectual property they purchased after its peak for one more box office windfall. The producers are calling Indiana Jones and the Dial of Destiny a “one last time” type of excursion. It is indeed that. It is one last time to wish they left it alone or had a better story worth telling.

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MOVIE REVIEW: The Flash

This movie was better off not slamming the accelerator through its narrative entanglements to the next action showdown. Miller and company are best in The Flash when they are not doing something super and addressing the bigger themes about their conditions and consequences. You feel the movie’s melodrama hit most not when it zips by you with a rush of hot air but in stillness when it wrestles with its proverbial speed demons. 

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MOVIE REVIEW: Spider-Man: Across the Spider-Verse

Wiping away all the dropped cameos, the central high-spirited affection in Spider-Man: Across the Spider-Verse is incredibly powerful. Emotions run as high as the web slingers swing with an extremely thick and, yes, impossibly convoluted saga of how all of these zany Multiverse threads either come together or exist in their separate planes with every possible brick of towering importance.

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MOVIE REVIEW: The Little Mermaid

Putting my school teacher hat on to match the spirit of this website, The Little Mermaid, like every movie really, is, for better or worse, a series of tests. It has become nearly impossible during this current cycle of Disney “re-imaginings” not to have questions of comparison arise between the original animated classics and their newfangled remakes. Depending on a person’s fandom or scruples (or both), that list can be long, short, casual, or petty.

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MOVIE: The Wind and the Reckoning

One of the most appreciable traits about movies is their ability to give faces and voices to human history across a myriad of cultures and time periods. If you ask them, astute film viewers will lose count how many “based on” or “inspired by” movies about true stories have instigated wider and deeper educational dives to learn more. The Wind and the Reckoning joins that honorable tradition and, even greater than faces and voices, it gives its depicted history a literal and figurative fighting chance.

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MOVIE REVIEW: What's Love Got to Do With It?

When the larger societal issues of Britain’s social politics towards POC creep in, the hurdles, so to speak, get even higher. To Shekhar Kapur’s great credit and shared with producer and debuting screenwriter Jemimia Khan, those inclusions are honest more than heavy-handed. More than anything, What’s Love Got to Do With It puts a strong emphasis on family honor and its aforementioned different speed of romantic finality. Those nuclei become natural and not forced on a journey where the wallup and flourish surprisingly arrive in two different places.

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MOVIE REVIEW: Guardians of the Galaxy Vol. 3

When it comes to coolness, Guardians of the Galaxy Vol. 3 is an air conditioner of a blockbuster movie. Its comic book movie breeze is crisp and non-stop, making any hot room feel stupendous. The compressors are chugging on full blast and the thermostat is set low for maximum chill. But, like any air conditioner, you can run that machine too long. It’ll churn, rattle, need a filter or two, frost up, run out of refrigerant, or overdo the coolness for the room.

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MOVIE REVIEW: Tetris

Early on in Tetris, Taron Egerton’s main character Henk Rogers shares an admission with his furious boss about why he put himself into greater financial debt to back an unknown video game from The Soviet Union he stumbled upon at a consumer electronics show in Las Vegas. Leaning over and speaking low with clear eyes relaying bewilderment, he talks about seeing those soon-to-be iconic blocks still falling in his dreams hours and days after playing the game. Memories fill Tetris viewers, and they immediately picture the exact same thing.

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MOVIE REVIEW: Creed III

With confidence and integrity, Creed III has been created with outright strategy. This third entry has timed its moment to show that it has reached a maturation point to continue forward without Sylvester Stallone. Making his feature debut as a director, franchise star Michael B. Jordan represents and demonstrates a new level of command and authority. Moreover, rather than re-assembling and relying on more family trees, Creed III finds a very penetrating and personal singular focus for its choice of ominous opposition.

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