Come See Me in the Good Light co-mingles the kaleidoscopic themes of genderqueer poetry with the grueling daily management of a deadly illness — and does the vulnerability of its well-chosen subjects remarkable cinematic justice. Through that, White creates a sense of existential wonder and a film bursting with hope for all kinds.
Lacking in chemistry, clarity, and conviction, Neon’s latest rendezvous with Perkins hits like a crumbling marriage that would serve everyone involved by ending as soon as possible.
Emotionally honest and algebraically stylish, Maio Mackay is a filmmaker the entire industry should watch in the coming years. But her latest purple-hued feature demands the attention of hot, tattoo-having, “Buffy”-loving, “Charmed”-binging, queer horror fans right now.
Canoodling more than we’ve ever seen Ed and Lorraine canoodle before, Wilson and Farmiga also seem to have a blast wrapping up their portrayals in a movie clearly created with their stardom in mind.
At a time when even horror lovers are petrified of isolation, Mother of Flies festers with feelings too scary to keep inside. It’s imperfect, better for it, and even languishing in grief, a clear cinematic legacy ready to start.
Harpoons have never been more terrifying than they are here, and Robinson and Lansky expand Williamson’s once quaint universe so dramatically that it can be shockingly hard to see the Fisherman coming.
Useless narrative threads and too many wasted elements give away M3GAN 2.0 as an amateur effort made by a talented horror filmmaker who has not yet mastered action’s specific visual language or skill set.
"Prom Queen” blitzes through familiar pop-comic vignettes, only pausing to make its loathsome characters’ adolescent nightmares just a little bit freakier.
