“Caught Stealing” feels so inconsequential and forgettable you barely remember things as they happen and it can’t seem to pair its propulsive energy with any kind of longevity or entertainment value.
Browsing: Movie Review
“Highest 2 Lowest” is Lee at his most reflective and sentimental, using masterpiece source material to deliver a thrilling and deeply funny love letter to cinema, music, New York, creativity, legacy, and black excellence. One of the greats doing what he does best with all the love in his heart poured out in every frame.
…even at its funniest and horniest it fails to jolt any electricity into its disjointed and purposefully convoluted plot, leaving “Honey, Don’t” feeling as flat as its Bakersfield desert setting.
“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.
“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.