Though it’s only just slightly over an hour, Rodents of Unusual Size covers a lot of ground when it comes to the nutria, a large, rat-like invasive species terrorizing the wetlands of Louisiana. From its history as […]
Author: Tomas Trussow
The Wolf House (Cociña & León, 2018)
I don’t know all that much about the Chilean cult that haunts The Wolf House. A cursory search reveals far more than I want to know, with atrocity after atrocity being unveiled like stepping stones. It’s […]
Mandy (Cosmatos, 2018)
Let’s start off with the good. Panos Cosmatos knows exactly the kind of aesthetic he wants to project, which is a psychedelic, deep-toned phantasmagoria. It’s perfect for stoners and those who like their films vividly […]
The Haunting of Hill House (Flanagan, 2018)
This is certainly not your mother’s Hill House. Mike Flanagan has taken Shirley Jackson’s novel and re-imagined it as a family saga—something I was apprehensive about, because family sagas are so common nowadays. I’m rather partial to Jackson’s […]
The Breadwinner (Twomey, 2017)
The thing I most admire about The Breadwinner is the fact that it doesn’t end on a tidy note. I found that commendable. It shows a lot of maturity to avoid the customary scene of hugs and […]
Icarus (Fogel, 2017)
I am tickled that everyone on here had the same thought as I had when I started watching this: Super Size Me: Doping Edition. I was even confused as to whether this film was the right […]
Wonder (Chbosky, 2017)
I totally get that this film could be seen as ableist in casting Jacob Tremblay as a boy with facial disfigurement, using prosthetics to fashion a mask that an actual disabled actor wouldn’t need. Obviously, […]
Logan (Mangold, 2017)
If I had a special connection to the X-Men franchise, and if Wolverine had been one of my all-time favourite characters, I would’ve appreciated this far more. This whole setup feels like the culmination of a grand […]
Game Night (Daley & Goldstein, 2018)
There is not much originality in Game Night. It quickly devolves into a bunch of dupes running around like chickens with their heads cut off, caught up in a kidnapping plot that they initially believe is […]
Ferdinand (Saldanha, 2017)
Ferdinand is a difficult film to dislike, what with its sympathetic hero and the colourful characters supporting his journey. I quite like its firm stance against the barbaric spectacle of bullfighting, and if you dig […]
Annihilation (Garland, 2018)
Will 2018 give us another film as strange, mesmerizing and uncompromisingly cerebral as Annihilation? As I sit here writing this, I am inclined to say no. I’m sure there will be films I’ll like better, and […]
Aquarius (Mendonça Filho, 2016)
There’s an impressive amount of strength that Sônia Braga carries while she’s acting. From one look or movement, she has the ability to arrest you on the spot. You do not mess with her. You […]
Red Sparrow (Lawrence, 2018)
I don’t have much to say about Red Sparrow, so I’ll keep this review fairly short. With Russia being in the news so often now, a film like this was bound to come along eventually: one […]
A Wrinkle in Time (DuVernay, 2018)
I’m afraid I have to agree with the consensus here: A Wrinkle in Time isn’t very good. Mostly because it’s a mature film trapped in a Disneyfied body, needing to take flight but barely getting off the […]
Ordeal by Innocence (Goldbacher, 2018)
Of the three Sarah Phelps adaptations of Christie’s work thus far, this one is by far the most radical. In the others, she kept much of Christie’s plotting intact, and instead added her own modern […]
The Lonely Film Critic 