Movies I wish I had skipped. This could be for any number of reasons: the film was made sloppily, the narrative didn’t engage me, or I simply could not connect with the film in any way for whatever reason.
There is something completely understandable and, to an extent, forgivable about the slapdash, lumpy, and largely hollow pieces that shape the narrative of Star Wars: The Rise of Skywalker. There is a distinct feeling, present from the opening scene of The Rise of Skywalker, that J.J. Abrams started this race a lap behind (Abrams was brought on late to the film after Disney parted ways with Colin Trevorrow).
Lionel Essrog (Edward Norton) is an assistant private investigator working under a man named Frank (Bruce Willis). Frank is his mentor, his father figure. Lionel was an orphan when he was taken under Frank’s wing. When Frank is murdered, it is only natural that Lionel will do whatever is necessary to uncover the reason behind his death. What he does not expect, though, is how entrenched this mystery is within a conspiracy of political power.
I have to admit: I can’t remember a whole lot about The Gallows, the micro-budget horror film from 2015 that found a massive ROI despite strong negative reaction from audiences and critics. What I do remember is being unimpressed. But the film was financially impressive enough, shoring up almost $43 million on a reportedly $100,000 budget. Certainly enough to warrant the greenlight for a sequel.
Todd Philips Joker is going to be controversial and divisive (in many ways, it already is). This is to say, it will be needlessly controversial and divisive. This is not to say that Philips is not aiming for provocation, or that those worried about the film’s content are in the wrong for it. But this is also to say that, in the end, Joker is nothing more than a hollow experience meant to be edgy without any true substance. Which is not to say that Philips and co-writer Scott Silver do not attempt at a statement on something beyond the film. It is just that the thin political subtext is almost laughably myopic.
If Andy Muschietti’s 2017 It was little more than a funhouse of jerky, startling set pieces loosely strung into a narrative, then his It: Chapter Two aims to up the ante in the manner only a blockbuster sequel can. And that includes inserting a literal funhouse.
In the previous installment, the Losers Club, comprised of Bev (Sophia Lillis), Ben (Jeremy Ray Taylor), Bill (Jaeden Martell), Ritchie (Finn Wolfhard), Eddie (Jack Dylan Grazer), Mike (Chosen Jacobs), and Stanley (Wyatt Oleff), were able to Continue reading It: Chapter Two (2019) Movie Review→
47 Meters Down: Uncaged shares a name and a director with 47 Meters Down. Both movies involve sharks. So I guess this is a sequel. The two films share no characters, but otherwise their plots are entirely the same. The only difference is in the title: 47 Meters Down had a cage, and 47 Meters Down: Uncaged does not.
The first hurdle that The Angry Birds Movie 2 has to overcomes is following up the far superior short film Hair Love. It is a difficult task to headline after a short that is as beautifully heartfelt, tender, funny, and imaginative as that short is. And, as expected, The Angry Birds Movie 2 does not live up in any of those categories.
Good Boys is the film for people who think preteens swearing and misunderstanding the sexual themes around them is hilarious. If you want to see tween boys wielding sex toys as weapons or giving a sex toy as a gift or using a sex toy to practice kissing or barring doors with a sex toy then this movie is for you.
1978, Hell’s Kitchen. Three Irish gangsters (James Badge Dale, Brian d’Arcy James, and Jeremy Bobb) get arrested following a police sting and are sentenced to three years in prison. Their wives (Tiffany Haddish, Melissa McCarthy, and Elisabeth Moss) are effectively cut off from their source of income. Their mob ties start short-shrifting their cash kickback. Kathy Brennan (McCarthy) tries to get work, but she is turned away because she has young children.