Category Archives: Review

Review

The Peanut Butter Falcon

It Chapter Two

Luce

Ready Or Not

Where’d You Go, Bernadette

Scary Stories To Tell In The Dark

The Farewell

Once Upon a Time In Hollywood

The Lion King

Midsommar

Spider-Man: Far From Home

Yesterday

Toy Story 4

The Souvenir

Dark Phoenix

Godzilla: King of the Monsters

Aladdin

Booksmart

Pokémon Detective Pikachu

High Life

Avengers: Endgame

Missing Link

Pet Sematary

Gloria Bell

Shazam!

Us

Apollo 11

Captain Marvel

Greta

At Eternity’s Gate

How to Train Your Dragon: The Hidden World

Palace

The Lego Movie 2: The Second Part

Serenity

Glass

If Beale Street Could Talk

Vice

2019 Preview

The Favourite

Mary Poppins Returns

Spider-Man: Into the Spider-Verse

2018 Christmas Weekend Preview

A Star Is Born

Creed II

Ralph Breaks the Internet

Widows

2018 Thanksgiving Weekend Preview

The Grinch

Bohemian Rhapsody

The Sisters Brothers

Halloween

First Man

Venom

Night School

A Simple Favor

The Predator

The Nun

Searching

The Happytime Murders

BlacKkKlansman

Eighth Grade

Mission: Impossible – Fallout

Blade Runner 2049 ****|****

Battle of the Sexes **½|****

Columbus ***|****

Mother! ***½|****

It ***|****

Good Time ***|****

Death Note **|****

Logan Lucky ****|****

The Glass Castle *½|****

Detroit ***|****

A Ghost Story **|****

Dunkirk **½|****

The Big Sick ****|****

Spider-Man: Homecoming ***½|****

Baby Driver ***|****

Menashe ***½|****

The Mummy *|****

It Comes At Night ***|****

Wonder Woman **½|****

War Machine *½|****

Alien: Covenant **|****

Guardians of the Galaxy Vol. 2 ***½|****

Their Finest ***½|****

The Circle **|****

Free Fire ***½|****

Personal Shopper **½|****

Win It All ***|****

The Discovery **½|****

Life **|****

Beauty and the Beast *½|****

Kong: Skull Island **½|****

Logan ***|****

Get Out ****|****

John Wick: Chapter 2 ***|****

The Lego Batman Movie ***½|****

The Handmaiden ***½|****

Silence **½|****

Elle **|****

La La Land ****|****

Fences ***|****

Manchester by the Sea ***½|****

Rogue One ***|****

Nocturnal Animals **½|****

Moana ***½|****

Moonlight ****|****

Arrival ***½|****

Doctor Strange **|****

Ouija: Origin of Evil **½|****

The Accountant ***|****

The Girl on the Train **|****

The Magnificent Seven ***|****

Sing Street ***½|****

Green Room **½|****

Everybody Wants Some!! ***|****

Eye in the Sky ***|****

Midnight Special ****|****

Knight of Cups **|****

Snowden **|****

Sully ***|****

Hell or High Water ****|****

Don’t Breathe **½|****

Kubo and the Two Strings ***½|****

Sausage Party ***|****

Suicide Squad ***|****

Jason Bourne **|****

Star Trek Beyond **½|****

Ghostbusters **|****

De Palma **½|****

The Secret Life of Pets ***|****

Weiner ****|****

Finding Dory **½|****

Hunt for the Wilderpeople ***½|****

Love & Friendship ***½|****

The Lobster ****|****

X-Men: Apocalypse **|****

High-Rise *½|****

The Nice Guys ***|****

Born To Be Blue ***|****

Captain America: Civil War ***½|****

Keanu **½|****

Krisha ****|****

The Jungle Book **½|****

Only Yesterday ***½|****

Samurai Cop ****|****

Batman v Superman: Dawn of Justice *½|****

Whiskey Tango Foxtrot ***|****

10 Cloverfield Lane **|****

Zootopia ***|****

Gods of Egypt *|****

The Witch ***|****

Deadpool ***½|****

Hail, Caesar! **½|****

Anomalisa ****|****

Brooklyn **½|****

The Revenant ***½|****

The Hateful Eight **|****

Spotlight ***|****

The Big Short **|****

Star Wars: The Force Awakens ***½|****

Room ****|****

Creed ***|****

Spectre **|****

Goodnight Mommy ****|****

Sicario ***½|****

The Martian ***½|****

The Walk ***|****

The End of the Tour ***|****

The Tribe **|****

The Gift **½|****

Mission: Impossible – Rogue Nation ****|****

Amy ***½|****

Ant-Man/Trainwreck

Minions **|****

Terminator Genisys *½|****

Love & Mercy ***½|****

Inside Out ****|****

Jurassic World ***|****

Entourage/Spy/Insidious: Chapter 3

Tomorrowland ***|****

Mad Max: Fury Road **½|****

Ex Machina ***|****

Avengers: Age of Ultron ***|****

While We’re Young ****|****

Kumiko, the Treasure Hunter **½|****

It Follows ***½|****

A Most Violent Year ***½|****

Fifty Shades of Grey *½|****

Inherent Vice ***|****

Foxcatcher ***|****

Selma ****|****

American Sniper ***|****

Force Majeure ***½|****

The Imitation Game **½|****

The Theory of Everything **½|****

The Interview ***|****

Whiplash ****|****

The Hobbit: The Battle of the Five Armies *½|****

Top Five ***|****

The Overnighters ***½|****

The Babadook ***½|****

The Hunger Games: Mockingjay – Part 1 **½|****

Dear White People ***|****

Birdman ***|****

Dumb and Dumber To **|****

Before I Go To Sleep **½|****

Interstellar ***|****

Nightcrawler ***½|****

The Guest ***|****

The Skeleton Twins ***½|****

Gone Girl ****|****

 

The Skeleton Twins ***½|****

Kristen Wiig and Bill Hader in The Skeleton Twins
Kristen Wiig and Bill Hader in The Skeleton Twins

Bill Hader and Kristen Wiig are together again and it’s a beautiful thing. The Skeleton Twins reunites the Saturday Night Live alums after the success of their roles in the 2009’s Adventureland, but while that film relegates them to husband-wife comic relief, Twins aims for something richer and more meaningful. Here they play estranged siblings Milo and Maggie, who are brought back into each other’s lives by their near-simultaneous suicide attempts. During their first meeting together in 10 years, they share the type of jaded banter that you would except from long lost friends but their past bonds soon come to light when Maggie asks Milo to move in with her to recover.

We then meet Maggie’s adoring but oblivious husband Lance, played hilariously by Luke Wilson. He’s the kind of guy who uses the word “amigo” liberally and treats the world as a mountain to be climbed but Wilson finds a way of somehow grounding this character and making him believable as Maggie’s spouse. Ty Burrell is also strong as Rich, a teacher from Milo’s past with whom he tries reconnect. Those expecting Phil Dunphy-esque pratfalls may be disappointed to find a much more subdued and tortured performance.

Despite these characters, Hader and Wiig really are the reason to see this movie. The exceptional chemistry between them allows not only for one liners and dry sarcasm but also moments of real tension and poignancy. Maggie and Milo clearly have plenty of issues to work out, both in the present and the past. Like true brothers and sisters, they know just how to find each other’s triggers for humor and pain alike. The best example of this is the climatic bonding scene, which finds an upset Maggie reluctantly joining in on Milo’s grandiose lip-sync of Starship’s “Nothing’s Gonna Stop Us Now.”

Writer-director Craig Johnson, who co-wrote the script with Mark Heyman, does indulge indie comedy clichés from time to time but also does a commendable job of balancing black comedy with penetrating family drama. He’s wise not to over-direct his actors, especially in scenes of confrontation that really ring true. While the film goes to the well once too often with water imagery, it also has a muted visual style that suits the material nicely. The fall setting also allows for a well-timed Halloween party that contributes to the primary theme of nostalgia.

The film’s title is referenced in dialogue-free flashbacks of the twins spending time with their father as children, in particular a scene in which they’re gifted a set of matching skeleton figures. This fits in well with the Halloween theme but also hints at the theme of death that permeates the film. There’s a sense of unmitigated sorrow within both Milo and Maggie that somehow both separates and solidifies them. Despite this sadness, The Skeleton Twins is able to inject plenty of well-judged humor to create a bittersweet and memorable family affair.

Gone Girl ****|****

Rosamund Pike and Ben Affleck in Gone Girl

David Fincher’s masterpiece Gone Girl has a lot going on and more importantly, plenty to discuss afterwards. First time screenwriter Gillian Flynn adapts her best-selling novel with all of its ferocity firmly in tact. Over a extremely well paced two and a half hours, the film succeeds as a keeps-you-guessing mystery, a disturbing commentary on intimate relationships and a darkly humorous look at modern media sensationalism.

Ben Affleck stars as Nick Dunne, a New York writer who meets cute with Rosamund Pike’s Amy in an extended early flashback and they share moments that lead them to courtship and eventually marriage. Things gradually begin to sour and on the morning of their fifth-year anniversary, Amy disappears and suspicions from the police and the public surround Nick in the ensuing days. During the investigation, he is supported by his sister Margo, played by Carrie Coon, and tested by two local detectives, played by Kim Dickens and Patrick Fugit.

And oh, how much more I wish I could discuss. The film’s marketing team did well to conceal the central plot points and I applaud their efforts for a level of restraint that is often uncommon among modern film promoters. Even though I would count its “She” trailer as one of the year’s best, I can’t say it was necessary to sell the movie to me personally. I’m still waiting for the day when a feature film helmed by a director of Fincher’s caliber is released without a trailer or TV spot before it. But I digress.

As per usual for Fincher, this film is tremendous from a technical level as well. Trent Reznor and Atticus Ross continue their successful relationship as music collaborators to produce yet another unnerving score. Cinematographer Jeff Cronenweth returns as well with his appealing visual style that also hints at layers of rot right under the surface. The casting also has some inspired choices, including Neil Patrick Harris as one of Amy’s former lovers and Tyler Perry, who brings humor and perspective to the role of Nick’s attorney (yes, I can officially say that I’ve now laughed at a Tyler Perry movie).

Above all, Gone Girl is a first-rate psychological thriller, not just in terms of its precise plotting but its engagement with the characters’ inner thoughts. It’s a revolving door with motivations and morality constantly pushing and pulling during the story’s progression. We know these people are loathsome in various ways but we can’t look away. A gorgeously framed opening shot along with a loaded voiceover passage at once sets up both the film’s emotional brutality and enigmatic beauty. This moment, which is reprised later in the film with elegant symmetry, is a stunning point of introspection that has stayed with me in the hours and days since my first viewing.