And nearly three hours long.
The director’s second feature isn’t as trim or impish in its satire as his marvelous debut, but it’s the most inspiring kind of miss.
Most of The Hummingbird Project is Jesse Eisenberg grimacing over his stomach and talking very fast.
The phrase “I have to see a man about a horse” takes on new and inspirational meaning here.
Her Captain Marvel is a goddess emitting her own light — an astral version of Liberty at the battlements, sublime and terrifying.
The movie is most successful when it’s least definite, when the conversations are full of awkward holes and the relationships are in flux.
After the rousing but sanitized-for-PG-13 Freddie Mercury biopic Bohemian Rhapsody, get ready for a PG-13-at-heart portrait of Robert Mapplethorpe.
Benedikt Erlingsson could have told this tale grimly — it’s grim stuff. But he has a wild card.
Including the Rock’s latest, Mads Mikkelsen’s survival drama, and a tightly wound horror movie.
This should have been the happiest professional year of Reilly’s life.
Spike Lee has seen another Driving Miss Daisy drive off with an Oscar but at least he has one of his own now.
There’s at least one genuine masterpiece in the 15 nominated films, and … a lot of child murder.
It’s a pity the first hour needs to be endured.
This rote psycho-horror flick has zero subtext and twists you can see limping toward you like the zombie tropes they are.
Once the bitterly ironic vision of this slow-motion mistaken-identity farce takes hold, it eats into the mind.
It’s part ethnographic documentary, part The Godfather.
Stalk-and-kill movies bear some resemblance to classic farces, but none have taken the similarities as far as Happy Death Day and its sequel.
The Prodigy works in a low key that still somehow scrapes your nerves, so when the nasty stuff arrives, you’ve been softened up for the kill.
It has a sicko premise, but scrupulously sicko.
The last time I saw “classic” bullet time, it was used on the E! Network’s Golden Globes red-carpet show.