Derrick Murray is a Los Angeles based stand up comedian, writer, and co-host for The Jack of All Nerds Show.
“Relay” is a well crafted, taut, clever thriller that works best when operating within its genre confines. It manages to blend formulaic thriller tropes with unpredictability and arresting intrigue, something we just don’t see in cinema all that often anymore.
“Nobody 2” feels half baked and undercooked, and while there’s some fun to be had sometimes it’s all but forgotten by the time you get home.
I’m not ready to call “Weapons” a masterpiece, but I am ready to call it an evergreen brain worm that – if you’re willing to let it – stays with you indefinitely and will be a film we talk about for a long, long time.
Sure, it’s not quite as good as the original, but it doesn’t have to be so long as it honors its legacy and does right by the classics. “The Naked Gun” does both of these things, and if you’re looking for a good riotous time at the movies, you really can’t go wrong with this one.
I enjoyed the hell out of “Together,” a wild, repugnant (again, compliment) ride that left me squeamish and uncomfortable in the best of ways. It also sports one of the best needle drops of the entire year, and I can’t even begin to describe how hard I laughed.
“The Fantastic Four: First Steps” is a tale of two films; one that attempts to take its first steps into new directions and one that backtracks into the same old tired Marvel machine.
“Oh Hi!” is a sort of millennial “Misery” told through a series of unfortunate situationships. There’s an earnestness from Brooks’ direction and screenplay that allows even the most outlandish events to remain hopelessly charming and romantic.
It’s a big swing and even bolder execution from a filmmaker who dives head first into both with complete abandon, and that approach is always going to draw lines in the sand. Though I feel good about what I think “Eddington” is trying to say, I’m still not entirely sure what to do with a film like this.
“I Know What You Did Last Summer” feels more unnecessary than even the most unnecessary sequels out there. It has forgettable, second screen watchability and is hardly fit for the big screen.
You have to respect workhorse filmmakers who bang out 3 films a year and rarely miss. It’s a class of veteran savoy that is rare even among the best of them, and Kiyoshi Kurosawa earns his stripes by living behind the camera and delivering one banger after another. “Cloud” is no exception, a haunting pressure cooker comprised of Kurosawa’s incredible patience that is always rewarded in the end. He has a knack for cluing you in on exactly what he wants to say but never giving away too much, keeping an ace or two up his sleeve to keep you…
