Rating: 2.5★
There's a moment roughly halfway through this film where I genuinely lost track of which robot was fighting which, who was winning, where it was happening, and frankly why I should care. A jumble of chrome limbs and grinding metal fills the screen, the camera whips around at
Rating: 2.5★
There's a moment early in Winter Light when Bergman simply lets his camera sit in a Swedish church and watch a Sunday service play out, nearly in full, in real time. No cuts to spare you, no intercutting to build tension, just the sermon, the sparse congregation, the
Rating: 2.5★
There's a version of When Evil Lurks that could have been one of the great modern horror films. The practical effects alone are worth acknowledging: grotesque, inventive, and crafted with a genuine commitment to physical horror that puts most studio genre fare to shame. The makeup work is
Rating: 2.5★
Jason Momoa is doing something in Fast X, I'm just not entirely sure it belongs in this film. He's prancing about, cracking jokes, painting his nails, and chewing scenery like he's been told the cameras are rolling on an entirely different franchise. And here&
Rating: 2.5★
There's a version of Pickpocket that I can see myself loving. A morally complex character study of a young Parisian drifter who transforms petty theft into something approaching philosophy, shot in stark black-and-white, directed by one of French cinema's most distinctive voices. On paper,
Rating: 2.5★
There's a version of Furious 7 that exists purely as a blockbuster, and then there's the version that actually plays out on screen, the one that carries the weight of Paul Walker's death in every quiet moment between the chaos. You can't
Rating: 2.5★
When Disney announced that The Mandalorian would be making the leap from Disney+ to the big screen, the reaction was roughly split between cautious optimism and weary scepticism. The series had been a genuine bright spot in the post-Rise of Skywalker wilderness, winning over audiences with its stripped-back,
Rating: 2.5★
There's a moment in The Cameraman where Buster Keaton shares a tiny changing cubicle with a large stranger, and the two men contort themselves into increasingly impossible arrangements trying to get dressed without making eye contact. It's brilliantly choreographed, genuinely funny, and over in about ninety
1960s
The last fifteen minutes of Viy are something else. A church fills with demons, spectral hands reach through stone walls, a levitating corpse traces slow circles through the dark, and then the creature itself is revealed: an ancient, monstrous thing with eyelids that have to be lifted by its servants
1950s
There's a version of Alice in Wonderland that could genuinely disturb you. Lewis Carroll's original stories are strange in a way that gets under the skin, full of logic that twists back on itself, a world that seems to operate on cruelty dressed up as nonsense,
Genre Family
★★½ — Wonder (2017)
Genre Horror
★★½ — Nightmare City (1980)
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