A brutally candid exploration of lust, obsession, and grief, deliberately blurring the line between romantic drama and psychological horror.

Fennell, whose reputation as a cinematic provocateur comes from a pair of hotly disputed previous films, Promising Young Woman, and Saltburn, seems to be setting up a kind of punishment for our expectations: If we were imagining one of world’s most endearing tragedies about passion being turned into a sexually frank and explicit drama, Fennell suggests strongly we think again. That more or less holds true for the rest of the film. As much as the trailer suggests an unhinged, psycho-sexual bacchanalia, the actual event is far more tame  —  at least, graphically  —  than what we might have imagined. 

Barbie is akin to Joe Camel espousing the virtues of a healthy lifestyle.

Like a detailed treatise on the Holocaust, summarizing it as a great example in character building.

Amsterdam is a plethora of pomp, but little requisite circumstance.

There’s just one major problem with the whole affair: it’s morbid.

Edgy with a rough-hewn style and the grace of a gorilla ordering a pale Pouilly-Fuissé.

The magic evaporates faster than the honey in Pooh’s pot.

A team of highly-skilled grifters takes on a new member in Focus. Expert con artists ply their trade in a myriad of ways with more than a few relying heavily on misdirection and sleight of hand. In many ways, they are misguided magicians of the street. Nicky (Will Smith) is one of the best. He’s […]