Loosely based on the 1980s series of the same name, former stuntman Director David Leitsch crafts a fitting comedic homage to the history of stunt choreography (and set a world record while doing it).
Category: Movie Reviews
I Saw The TV Glow Review: A Reality-Bending Throwback
Director / Writer Jane Schoenbrun’s stunning transgender allegory, while imperfect in some story beads, does a great job fusing 90s and 00s elements into a compelling exploration of life and hiding yourself away.
American Society of Magical Negroes review
Kobi Libii’s directorial debut delivers some solid laughs, but his exploration of a tired and problematic trope fails to deliver when the narrative needs it most.
Planet of the Apes: Caesar’s Saga
A detailed recap of Caesar’s Planet of the Apes trilogy, along with a breakdown of the progression of both the world state and the characters.
Kingdom of the Planet of the Apes review
Director Wes Ball kicks off a new trilogy in the Planet of the Apes series that delivers plenty of promise and intrigue, leaving the door open for new exploration or potentially rehashing the same old themes.
Civil War review: An Inferno You Can’t Look Away From
Alex Garland crafts a visually dense and emotionally tense thriller centered on the lives of 4 journalists as they wrestle with their roles in covering the war of the century.
Late Night with the Devil review: Reinvigorating Found Footage Horror
David Dastmalchian takes his leading role shot as fictional late-night host Jack Delroy in a horror film that could invoke the best supernatural occult scares of the 1970-80s in a fresh found footage package.
Director Spotlight: Martin McDonagh
A review of writer and director Martin McDonagh’s films and style.
Drive-Away Dolls review: A Hilarious Lesbian Romp
While there are a few Coen trademark touches that don’t land well in this solo outing by Ethan, two rising stars in Qualley and Viswanathan make a great duo and generate plenty of laughs in this short screwball travel story.
Madame Web review: Sony’s Latest Misfire
Web isn’t nearly as offensive to the cinematic process as say a Jonah Hex (2010) or even Sony’s own Morbius (2022), but its impressive levels of apathy and mediocrity would make December’s Aquaman sequel blush in embarrassment.