United States
Diablo Cody’s directorial debut was made back in 2013, yet got buried so deep it’s easy to not know it even existed. After watching Paradise, it became clear why it never got a proper release five years ago.
Ana Asensio’s directorial debut, Most Beautiful Island, is an intimate view of the immigrant experience not as social realist drama or romantic comedy, but as a horror story.
The Babysitter is perfectly trashy popcorn entertainment, with a distinctive, highly-stylized vision and self-satirizing bite; a lesson in embracing genre conventions rather than falling victim to them.
Laying blame is a difficult one because nothing is particularly awful in American Made: even the screenplay peppers a handful of decent set pieces and sequences throughout – but there’s nobody on-hand to elevate the picture.
Despite an admittedly heartwarming message about not putting a price tag on ways to make others happy, there is very little to take away from Almost Paris. You’ve seen this one before, albeit better.
Desolation is a unique take on a traditional horror movie, bending genre conventions in to a unique (and thoroughly contemporary) nightmare.
Molly’s Game is a prime showcase for one of Hollywood’s most versatile actresses, but the film as a whole doesn’t live up to Chastain’s fiery performance.
Upon first viewing, Phantom Thread is utterly irresistible, but the dense themes and examinations of inter-character relationships means that it is the rare Anderson effort that will only be upgraded to masterpiece status once it has fully been processed after multiple viewings.
The Insidious franchise has quietly grown to be one of the most impressive and contemporary horror- and Insidious: The Last Key is another solid entry, despite the January release date.
Though occasionally unsurprising, Better Watch out is a strong alternative to the regular holiday viewing because of the nasty genre thrills it delivers whilst being wickedly funny.
Bright is a film trying too hard, with an execution that leaves something to be desired. What is good gets smothered under the excess, and while it might keep some entertained it doesn’t stick with you.
Mom and Dad maintains its absurdity, while not completely abandoning its eerie core, sensitively playing off a very personal, instinctual source of parents defending their young – until they become prey.
Despite some wonderfully imaginative special effects, Downsizing falls short due to its unfocused nature, an underdeveloped love story, and some feeble attempts at social satire.
In finding the perfect lead in Jackman as Barnum, providing moving and invigorating musical numbers executed by a stellar secondary cast, impressive visuals, and covering timely topics, The Greatest Showman overcomes its narrative shortcomings.
Using archival footage and a present-day interview, Jim & Andy fills in the backstory related to Jim’s spot-on performance of Andy Kaufman in 1999’s Man on the Moon, at the same time providing an explanation for some of his modern bizarre behavior.