Slashfilm

Schoenbrun's new film, Teenage Sex and Death at Camp Miasma, is also a profound and emotional work of media analysis, this time targeting the corny, sexist, transphobic slasher movies that Gen-X grew up watching in the 1980s.

The Tony of the film is an Everyman, someone who is as charming, toxic, feeble, and ripe with potential for redemption and/or greatness as you or I. In that way, "Tony" really cooks.

Sure, the screenplay may try a little too hard at times to celebrate Peter as the most gifted and special individual to ever live. But at least it makes him earn such a victory lap, genuinely putting him through the wringer in a story where might never makes right. Only empathy, sacrifice, and true heroism save the day.

Even though Her Private Hell doesn't connect as hard as some of Refn's prior films, it has a richness which befits the last decade of his work, both in "The Neon Demon" and his streaming series. To be sure, the man's asking a lot of audiences, and seems to be willfully embracing polarizing opinions. Yet he isn't antagonizing so much as challenging.

Nolan also creates dreamy sequences that convey a true sense of awe and wonder — the moment when Odysseus and his men sail past the island of the sirens is a real highlight, with Nolan deliberately avoiding letting us hear the sirens' call but having Damon as Odysseus recount what he heard in a chilling fashion. All of this is enhanced by Ludwig Göransson's pulse-quickening score, full of heavy percussion and, most surprising of all, moody synthesizers.

Three films in, I think it's fair to say the modern "Evil Dead" movies have found the right formula. While nothing will ever quite compare to what Raimi originally created (how could it?), I've grown quite fond of this new approach of handing each movie to a different director and letting them run wild.

It's fodder. Content. Colorful, and somehow drab. Full of incident, and somehow inert. Full of familiar, beloved songs that, in live-action, are obfuscated by visual and aural noise. Despite being a story of ancient people righting the previously imbalanced balance of nature, it looks flat and artificial. 

Supergirl is an aspirational film because it does not demand perfection of its characters or their journeys, thereby modeling for those watching at home that we too can say the wrong thing or make the wrong decision and still find a path toward heroism.

Once all of the moving parts of "Toy Story 5" link up, it builds toward a satisfying climax and one of the most emotionally resonant endings of any "Toy Story" film, which is a ridiculously high bar to clear. It may not be the best installment yet, but it's one of the strongest stories the series has ever told, and what a joy it is to know that after three decades, we still have a friend in "Toy Story."

As The Death of Robin Hood crawled towards its inevitable conclusion, I found myself growing wistful, though I can't quite say why. It wasn't that I felt a particular emotional connection to any of the characters. It was more that the narrative was so abundant with feelings of regret and loss that it drilled down into my chest and brought out a vague sense of pensive sadness.