One has to keep in mind that Leah McKendrick’s film is a romantic comedy, meaning, according to even the most refined and reinvented versions of the genre’s formula, a sticking point born from preventable mistakes or an unwashed Big Lie likely exists. In the case of Voicemails from Isabelle, the finagling of fate belongs to Wes. Like many rom-coms, a horses-holding “Let me explain” is needed.
Read MoreThat squint of doubt as a viewer is the main energy of Littermates, directed by short film specialist Scott Tinkman, making his feature-length debut, from his original screenplay partnered with Michael Woloson, who doubles as the cinematographer. Things seem too calm and mannerly, considering the chaos heard all around this property.
Read MoreIn The Death of Robin Hood poster did not already warn you, that right there is the brusque and dissentient attitude of this character and the entire film. Anything “merry” is as far away as the Sun during this drastic display of weather. Like body parts, the somberness can be cut with a knife or the deep strings and choral hymns from composer and folk singer Jim Ghedi, working on his first film.
Read MoreSimone Ashley’s shifting allure of evocativeness and conviction deflects predictability and shields the suspense very well, even if the rest of the cast cannot shake their tropes and witnesses and puppeteers at times. Some may argue that This Tempting Madness does not reach a radical enough tipping point to contend with that previous era of thrillers. Possibly, but Montgomery chose the wavelength of paranoia over titillation and distilled her own disturbing vibe just fine.
Read MoreWith a very welcome shift to put Jessie front and center instead of Buzz or Woody (Tom Hanks) for a change (though the billing in the credits suggests otherwise), the antique cowgirl’s spunky spirit and more impactful and wider revealed history steer this story to new, poignant places. In aspiring to do all that, Toy Story 5 finds its missing brevity again, in what might be the funniest entry in the whole series.
Read MoreFor the Carolina Caroline screenplay to even entertain these more mature themes is a testament to its quality and uniqueness amid the sea of film noir and neo-noir mirrors and imitators. Anyone can put a hot girl and a studly man together with a couple of guns and fire off some ill-advised bullets and Cupid’s arrows. Samara Weaving and Kyle Gallner, like their characters, forge something stronger than a fleeting fling, and that weight means the world.
Read MoreFor this movie, the foreboding existence of a big, bad sea monster capable of thorough destruction is enough. There’s no need to channel Michael Bay or Roland Emmerich and blow every cinematic wad in the world. No massive crowds are running for their lives ahead of massive property damage. No one is screaming, “It’s the Kraken!” That’s improved patience and confidence to make your own thrills count.
Read MoreViewers of Iglesias’s film may or may not immediately subscribe to the notion of spirits and ghosts among us, which will strengthen or fray their connection with the story, depending on where they fall. There’s not so much a need for someone to take the matriarch’s place, but more of finding someone to match her presence.
Read MoreWhat isn’t problematic is Forge’s suave and efficient screenplay from Jing Ai Ng, making her feature debut after an eight-year resume of promising short films. The smoothness comes from scaffolding the idiosyncrasies of the underground art world, fueled by favors and authenticity. By empowering the prowess of the Coco character, Ng showcases this titular crime’s uniqueness, where not just anyone can pull it off.
Read MoreMaybe there’s a little sizzle to the Hutt name and legacy attached to The Mandalorian and Grogu, but, honestly, not much of this premise and setup feels any better than, say, three episodes of the previous television show itself. As it stands, there’s no threatening cause or higher evil in play or looming above this fray. While this promotion from the small screen to the big one fashions itself as the beginning of a new chapter for these beloved characters, not much storytelling or mythical consequence comes of this big debut.
Read MoreWhen done right, there’s sensory excitement between noises that rattle seats and silences that destroy our nerves. Tuner, the narrative directorial debut for Oscar-winning Navalny documentary filmmaker Daniel Roher, recognizes this second type of potential power and seizes it for a nifty thriller that deserves just as many big screens as the summer blockbusters it is poised to swim against.
Read MoreThe seismic disclosure recolors the sentiment, setting, and stakes of Magic Hour instantly. Marshall and Erin’s mother (fellow treasure and TV vet Susan Sullivan) are doing their best to provide Erin with this remote getaway of calm solace and granted space. Other people enter Magic Hour to guide Erin through her pain, but the one figure she’s responding to and divulging her worries to the most remains the present spectre of Charlie.
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