Let the Corpses Tan, the latest from Belgian team Cattet & Forzani, is a deliriously degenerate mash-up of spaghetti western, giallo and poliziotteschi that does more than arrest the eye: it positively holds it captive. […]
Love, Simon (Berlanti, 2018)
Love, Simon reminded me a little of last year’s Wonder, which was (if you remember) about the child with the facial disfigurement. Both are very safe and “clean” uplifters about self-acceptance and tolerance that are fundamentally structured […]
Life and Nothing More (Esparza, 2017)
I’m excited for more people to see Life and Nothing More when it eventually makes the rounds, because I want to see sentences like “Regina Williams is a star in the making,” “Regina Williams gives one of […]
Tully (Reitman, 2018)
I liked the “motherhood as body horror” approach that Tully takes for its first half, and bless Charlize Theron for her commitment in making Marlo look thoroughly wiped by the experience of having a third baby. Gaining […]
Eighth Grade (Burnham, 2018)
When I was in grade school, social media was really nothing more than chats on MSN Messenger and cell phones that didn’t have the functionality we know of today. There was Facebook, too, I guess, […]
Mamma Mia! Here We Go Again (Parker, 2018)
The first Mamma Mia! is a jukebox musical in which the plot was clearly written around the songs. ABBA’s songs of infidelity, flirtatious discovery, and radiant living are perfect for a tale of a woman with three […]
A Quiet Place (Krasinski, 2018)
A Quiet Place is among the best experiences I had watching a film this year, as it utilized its technical facets with a great amount of intelligence. From the sound design to the cinematography, John Krasinski ensures you […]
The Endless (Moorhead & Benson, 2017)
My somewhat low rating here does not mean that I don’t respect Benson and Moorhead’s ambition. Creating a legible sci-fi tale involving temporal loops and sinister, omniscient forces is not an easy feat, and they […]
Double Lover (Ozon, 2017)
Sorry to rain on any parades, but I’m of the opinion that Double Lover’s trashiness is not of the commendable type. Firstly because the starring role becomes a cipher for a lot of misogynistic impulses, to […]
Christopher Robin (Forster, 2018)
The nostalgia factor on this one is high. I, like many other children, grew up on Winnie the Pooh. I watched the full-length movies, the cartoons, and I’m pretty sure I had a stuffed Pooh […]
Hannah (Pallaoro, 2017)
Andrea Pallaoro’s Hannah is all show and no tell, and that has both benefits and drawbacks. In terms of the latter, it makes it harder for us to really connect with the true predicament of Charlotte Rampling’s […]
Black Panther (Coogler, 2018)
I’ve made it clear in other reviews that I’m no Marvel fanatic, and that their cookie-cutter approach to plot and characterization has becoming maddeningly repetitive with each new entry. It’s so nice, then, to watch […]
Summer 1993 (Simón, 2017)
The impressionistic touches in Summer 1993 are wonderful to behold, and you always know they’re coming from a deep place because of how authentic they feel. The scene in which Frida dresses up and playacts the role […]
Claire’s Camera (Hong, 2017)
Ah, yet another deceptive bonbon from our favourite South Korean auteur. And an odd one, at that, since the soju-drinking is kept to a minimum, and we’re planted in France this time around—more specifically, in […]
Beast (Pearce, 2017)
I liked the idea of Beast more than the execution, which is on the over-stylised side for my taste. All the moody lighting and portentous music distracts from the visceral darkness of the story, and the way […]
The Lonely Film Critic 