Bong Joon Ho is like an avant garde chef who’s opened a pop up kitchen in some strange part of the city you don’t know very well. You don’t know what to expect, but when you try the food, it’s a brilliant combination of disparate ingredients you never would have thought to put together
Sean Baker’s pronounced humanism is one of his strongest superpowers as a director. Whether they are trans sex workers (Tangerine), young children living in a motel (The Florida Project), or con artists new to town (Red Rocket), his generosity with his characters always shines.
Inside Out 2 is a schizophrenic jumble with everyone spread way too thin.
Barbie is akin to Joe Camel espousing the virtues of a healthy lifestyle.
Asteroid City is as flat and unremarkable as its surrounding landscape.
Vol. 3 is overly dark, overly busy and often overly dull.
Like a detailed treatise on the Holocaust, summarizing it as a great example in character building.
The world hasn’t seen this kind of dedication to organization since the Nazis stormed into Poland.
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.
An economy-class ticket has rarely been this entertaining.
The Unbearable Weight of Massive Talent suffocates amid the challenge of its central stunt casting and doesn’t approach the level of crazy that you expect until too late.