‘The Beta Test’ is a peek behind the showbiz curtain, looking less at the product and more at the obsolete machinery struggling to churn it out.
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Reviews
An interesting if somewhat under-baked story with captivating imagery and unparalleled needle-drops, ‘Last Night in Soho’ is decent if unspectacular.
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Exciting, interesting, transportive, and seemingly pulled straight out of the mind of Frank Herbert, ‘Dune’ is the sci-fi experience of the season, and the movie fans of the book deserve.
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This ‘Sopranos’ movie prequel maintains the texture and voice of the groundbreaking show while never achieving its character or story depth.
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St. Vincent and Carrie Brownstein wrote and star in ‘The Nowhere Inn,’ a meta-mockumentary about the absurdity of stardom and celebrity. Full of humor and the occasional suspense, Clark and Brownstein work wonders together.
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‘The Eyes of Tammy Faye’ showcases the best performances of its leads’ careers, utterly wasting them on branded image propaganda.
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Dom Toretto thought he’d left his outlaw life in the rear-view mirror, but not even he can outrun the past. When his forsaken brother Jakob unexpectedly resurfaces as an elite assassin, the crew comes back together to help Dom confront the sins of his own past and stop a world-shattering plot.
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‘Shang-Chi and The Legend of The Ten Rings’ stars Simu Liu as Shang-Chi, who must confront the past he thought he left behind when he is drawn into the web of the mysterious Ten Rings organization.
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‘No Man of God’ is not a film that Ted Bundy would have enjoyed, but it’s the one his victims deserve.
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‘Shang-Chi and the Legend of the Ten Rings’ succeeds where others have faltered due to its vice-like grip on the larger Marvel formula and an embrace of genre.
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‘The Suicide Squad’ is a bloody hit. Full of humor, lovable new characters, and more action than you could ask for, ‘The Suicide Squad’ showcases the potential the original never lived up to.
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‘The Green Knight’ is ‘Excalibur’ on mescaline; it is ‘Monty Python and the Holy Grail’ crossed with ‘2001: A Space Odyssey.’ It is also spectacular.
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‘Stillwater’ is a messy, unfocused tangle of a movie made only marginally watchable because of the superb work of its lead.
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Despite a strong Mark Wahlberg turn, ‘Joe Bell’ is a jumbled mess of emotions and contradictions, none of them particularly interesting or fully baked.
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At no point was my heart in my mouth – although my hand was, to cover up multiple yawns. The film was not striking in any way, shape or form.
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