Goat isn’t doing anything new story-wise, but it’s a fun and engaging underdog (or undergoat?) sports comedy that shines thanks to its wonderful production design and animation.
On the heels of several other Dracula-based films in very recent memory, Luc Besson’s take on the story doesn't do enough to set itself apart, despite its fair share of weird comedic moments.
Iron Lung has terrible pacing and very low energy from the start. The scenarios that Fischbach has put his character in just aren’t compelling enough to watch unfold, with scenes that drag on and on.
If you buy a ticket for one killer chimpanzee movie this year, Primate delivers the goofy goods. It has fun set pieces, a great-looking animatronic costumed killer chimp, and applause-worthy gore for those of us who like when our horror gets messy.
Now You See Me: Now You Don’t serves as a reminder of how they manage to coast by just enough, providing a good time thanks to the notable talent and charm of their expanding cast and the inclusion of the magic trick element to provide a unique flair. It’s the epitome of “We’re just having fun here” entertainment, and while little of it resonates, it mostly gets the job done.
You’ll believe a dog can star in a horror movie with Good Boy, which makes the most of its high-concept approach of centering a haunted house story not on a man but on man’s best friend.
As is expected from a sequel to a surprise action-comedy hit, Bob Odenkirk’s second round of ass-kicking gets a bit more goofy than the first film, in the process losing some of the charm of the original’s more grounded look at an assassin now living as a suburbanite. But Odenkirk’s commitment to the role and director Timo Tjahjanto’s flourishes make this an entertaining sequel that proves that there is a lot of joy to still be found in watching a legendary comedian turn into a one-man army when he’s pushed too far.
Pete Davidson does solid enough work in a more dramatic role and the supporting cast does the best they can with the material, but The Home collapses under its muddled messaging, overly familiar and sometimes ridiculously heavy-handed imagery, and a lack of tension.
