Predator: Badlands is a big disappointment coming off of the surprisingly solid Prey. What starts as an interesting concept by having the Predator itself be the protagonist of the film unfortunately goes nowhere, and the movie is simply one big nothing. There are still some fine action set pieces, and Elle Fanning is very good in a double role, but the movie lacks any sort of theme or heart to keep audiences invested.
Cosmic Princess Kaguya! is a smart, thoughtful subversion of the classic Japanese folklore, The Tale of the Bamboo Cutter, updated with a modern setting for a modern audience. It's pulpy, a bit overlong, and at times chaotic -- more KPop Demon Hunters than Isao Takahata's The Tale of the Princess Kaguya -- but its gorgeous animation and a strong soundtrack coupled with genuine heart and soul shine through to make this a joyful watch for all ages.
James Gunn's weakest comic book adaptation, the new Superman is a mess of ideas, though not without some merit. The strongest element of the film is the casting itself. Here we have, by far, the best version of Superman himself on screen since Christopher Reeve. Other highlights include Clark Kent's parents, Lois Lane, and one of the slimiest and interesting versions of Lex Luthor yet. Furthermore, Krypto steals the entire show. However, the movie itself is all over the place. It's refreshing to get a very different type of Superman movie, but it's such a clash of tone and ideas, it could give someone whiplash. The movie at times wants to tell a relevant drama, while also being a cartoonish superhero adventure film, and it doesn't always mesh. Nor is the film really equipped, nor interested in fully realizing its social commentary aspirations -- even if its heart is in the right place. Ultimately, this is only at best a minor step up from the previous Bryan Singer or Zack Snyder disasters. Though, it does have some genuine heart, a positive-if-not-fully realized message, and a great version of Superman himself. I can honestly say that this movie did get me excited for the upcoming Supergirl movie.
While Godzilla may have morphed into a corporate mascot in today's world, the original 1954 film is a surprisingly smart piece of post-war social commentary that holds up very well.
Godzilla Minus One manages to be every bit of a poignant World War II drama as it is a giant monster movie, and like Shin Godzilla before it, manages to make the titular giant lizard truly scary again. This is on the short list of the greatest giant monster movies ever made, and could possibly top both Shin Godzilla and even the original 1954 Japanese feature as the best Godzilla film ever made.
After multiple failed attempts by Hollywood at re-envisioning Godzilla, leave it to Toho to show them how it's done. Already a master at animation, Hideaki Anno shows an equally keen eye for live-action storytelling. This is the smartest Godzilla film since the 1954 original, and, just like the original, this movie is more focused on its thought-provoking social commentary than mindless destruction -- though updated to fit Japan's modern political climate.
Somehow, these Monsterverse movies keep getting dumber and dumber with each new installment. Godzilla x Kong: The New Empire, like Godzilla vs. Kong before, features a laughably bad script that feels like it was written by a grade schooler. Furthermore, the desire of these films to bring back established characters is baffling, as these characters serve no purpose other than to dish out clunky exposition. You'd be forgiven if you had completely forgotten any of these characters from the last movie, and nothing in this film will have them stick in your memory moving forward, either. This is especially embarrassing coming just a few months off the heels of the superb Godzilla Minus One; a giant monster movie that proves, yes, you can actually have an engaging human story in these types of films.
Did I just watch Batman v Superman again? Because it felt like I just watched Batman v Superman again. Any time a giant monster isn't punching another giant monster in the face in Godzilla vs. Kong it is a dreadful movie with a shockingly abysmal script. Somehow it feels both overstuffed and underwritten at the same time, with too many characters (half of which serve no purpose to the story) and a bizarre plot that feels ripped right from a rejected Syfy Network script. If I didn't know any better, I'd have assumed this screenplay was written by a kindergartener.
A mindless action movie with the intent by Warner Bros. to setup yet another Marvel-like cinematic universe; because their attempts at doing so with DC and Fantastic Beasts have gone so well for them thus far. This is soulless entertainment, lacking any heart, while almost all of the characters are one-dimensional bores. The one notable exception being John C. Reilly -- the only element in this film that breaths any sort of life or personality into it.
Peter Jackson shows fanboy-like admiration for the original King Kong in this bloated, but very well made remake. There's a lot of care and heart put into this version, even if some of the action sequences go way overboard, and the plot is extremely drawn out.
A sub-par, but watchable remake that's man-in-a-gorilla-suit effect holds up worse than the 1933 stop-motion animation in the original classic. While one wouldn't have much reason to watch this over the original, at the very least this version manages to be well acted, respectful of the original, and entertaining enough on its own.
To this day, the original 1933 King Kong remains the greatest giant monster movie ever made. Its timeless story holds up wonderfully, and even if its then state-of-the-art special effects don't, it still manages to be a far more exciting action/ adventure film than any of Warner Bros. and Legendary's modern day attempts.
After a couple of really entertaining pulpy horror films, director Michael Dougherty (Trick 'r Treat, Krampus) takes his shot at westernizing Godzilla. Of all three of Hollywood's attempts, this is the most disappointing. Ridiculous levels of non-stop, mind-numbing destruction coupled with underwritten characters and dumb, blunt dialogue make me question if this isn't actually Roland Emmerich's second attempt in disguise.
After Roland Emmerich's disaster, Hollywood tasked Gareth Edwards with bringing Japan's infamous giant lizard west. The result is far more dignified, but ultimately also unsuccessful. With a woefully underwritten cast of robots, the human elements of this adaptation are deeply lacking. However, while the movie clearly had loftier goals set for itself, there is still just enough visually exciting monster-on-monster action to make it at times dumb fun.
Hollywood's first crack at Godzilla was a colossal dud. From juvenile humor, to dull and bombastic action, to sappy, kitschy melodrama, this misguided attempt by Roland Emmerich puts all of the director's worst tendencies front and center.
Christopher Nolan's Oppenheimer is a tremendous, large-scale biopic that hits at the nuances of its subject, his political history, and the disastrous results of his work and its far-reaching implications for future generations.
Dune: Part Two is a gorgeous and extravagant science fiction epic, which is becoming the norm for "keep-your-eye-on" director Denis Villeneuve. Dune: Part Two is very much the continuation of Part One, which, not unlike Peter Jackson's The Lord of the Rings, together truly feel like one completed film that's greater than the sum of its parts.
Furiosa is George Miller's Mad Max meets Homer's The Odyssey, and its grandiose nature is the perfect follow up to Mad Max: Fury Road's more self-contained adventure. While a very simple revenge story at heart, Furiosa is brimming with life and visual creativity. Furthermore, the craftsmanship on display is second to none, with a thrilling action set-piece in the film's middle serving as the movie's biggest highlight. It's a 15-minute long chase sequence that's as good as anything in Fury Road.
Nope may never come close to reaching the heights of Get Out or Us, but it's still a well thought-out, original, and beautifully executed horror film by Jordan Peele.
Doctor Sleep is a wildly uneven, but thoughtful sequel to The Shining. Mike Flanagan's adaptation is faithful to a fault to Stephen King's material, while also showing so much reverence for Stanley Kubrick's original film that it's hard for this movie to stand on its own. However, a strong sense of style, solid emotional core, and a wonderfully fun and hammy performance by the very underappreciated Rebecca Ferguson make Doctor Sleep a worthwhile watch for fans of horror, King, and/or Kubrick.
Mike Flanagan's Stephen King adaptation is expertly made, poignant, and legitimately terrifying, while Carla Gugino gives a career defining, Oscar-worthy performance. Beware of spoilers, though. The less you know going in, the better.
Ari Aster's follow up to Hereditary is another ambitious, intelligent horror film with strong focus on character driven drama. Though, it does delve into some similar territory as Hereditary, a film this does not quite stack up to. The performances here are once again very good, with Florence Pugh's lead serving as a strong ancor for the rest of the cast. However, there is no performance that comes close to matching Toni Collette in Hereditary.
Hereditary is a breakout film for writer/director Ari Aster. It's a smart, character-driven horror film that is full of suspense and lingering terror. However, standing above all of the high quality technical craft is Toni Collette's tour de force performance. It was an absolute crime she wasn't nominated for an Oscar for this role.
A wonderfully creative and funny horror film from Drew Goddard. While it has clear influences from classic horror/comedy such as the Evil Dead series, it puts its own unique spin on it that is both silly and genius. The concept alone might not be enough to hold its entire runtime, but with a great cast and some innovative gory set pieces, it still manages to be bloody good entertainment throughout.
Sam Raimi returns to horror in the absurdly funny Drag Me to Hell. While Raimi's signature comedy is on point, the PG-13 rating detracts a bit from its horror elements. Still, Drag Me to Hell is worth seeking out for anyone with even the slightest affection for Raimi's Evil Dead.
If Malignant wasn't as well produced as it is it'd feel like something you might see on Mystery Science Theater. Its ridiculous premise, poor acting, and silly dialogue make for a film packed with unintentional laughs. Though, James Wan's film does feature some notable craft, with some nice cinematography and camera work, as well as a few genuine tense moments early on.
What begins as a potentially classier slasher movie in the vein of John Carpenter's original Halloween quickly degrades into something far trashier. Legitimate scares give way to your usual cliche genre traps, while the movie ends with one of the most miserable and pointless endings you'll likely see. It's the sort of ending where you'll be questioning why you even bothered wasting your time in the first place.
Halloween Ends squanders the potential of some interesting ideas and a really tense and creepy opening prologue. The rest of the film is every bit as dumb as bricks as its direct predecessor, Halloween Kills.
Yet another unnecessary Halloween sequel. After a surprisingly solid update with 2018's Halloween, David Gordon Green returns to the director's chair once more in what ends up being an empty, by-the-numbers slasher film. Halloween Kills is more interested in gore than story or character, as the somewhat nuanced look into Laurie Strode's trauma from the last film is dropped in favor of mob's of people shouting "evil dies tonight" over and over.
A surprisingly thoughtful sequel/reboot/update to John Carpenter's original classic. This new Halloween is at its best when delving into Laurie Strode's trauma from that fateful night 40-years prior, while Michael Myers is by far his most frightening since the original. Add in a new fantastic soundtrack by Carpenter himself, and what you have is one of the better sequels in this long running franchise.
Michael Dougherty's Trick 'r Treat is a delightful horror anthology full of both big scares and even bigger humor. This is a movie that deserves to be on your yearly Halloween watch list right alongside films like John Carpenter's creepy holiday classic.
Perhaps Martin McDonagh’s most intimate and mature work, The Banshees of Inisherin works like a fine play. This wonderfully written and acted story is centered around petty grievances, centered on the backdrop of civil war in Ireland, as well as the idea of time slipping away through the monotony of every day life, with people desperate to leave their mark on the world. Sad, funny, poignant, and featuring some at times breathtakingly gorgeous cinematography, this is one of McDonagh's best yet.
Martin McDonagh's mastery of tone continues in his third feature. Frances McDormand gives her best performance since Fargo in a role that is equal parts funny and heartbreaking. Special mention goes to Sam Rockwell, who gets one specific scene that's worth the price of admission by itself. You'll know it when you see it.
Martin McDonagh's follow up to In Bruges isn't nearly as strong, though his sense of style and humor coupled with a great ensemble cast still makes this an entertaining watch.
The best Tarantino movie that Tarantino never made. Martin McDonagh's feature-length debut shows off style, wit, and high quality dialogue. Colin Farrell, Brendan Gleeson, and Ralph Fiennes all ride the line beautifully between humor and drama in this tense, violent thriller.
Gaspar Noe's very Gaspar Noe Climax defies pointless arbitrary review scores, though I'm forced to give one. It's a visually gorgeous and hypnotic nightmare, with great dance choreography. However, it has almost no plot, story, or emotional core, which makes it difficult to get attached, and even harder to reflect on beyond its technical qualities. Gaspar Noe makes movies that interest him, and that is admirable in its own right.
Doctor Strange in the Multiverse of Madness is a tale of two halves. The first half is a generic and dull slog -- barely showcasing the visual flourishes director Sam Raimi is known for. You would be forgiven for questioning why a director of Raimi's caliber was required at all. However, with the second half, Doctor Strange 2 remembers this is a Sam Raimi film, and the director is allowed to utilize his knack for weird, funny horror in ways that feel right at home for the director of Evil Dead. Still, even at its best, Doctor Strange 2 is a middling effort for Marvel -- coming no where near reaching the heights of Sam Raimi's terrific Spider-Man films.
After two home runs with The Witch and The Lighthouse, Robert Eggers is back with his largest film to-date in The Northman. Thankfully, despite a bigger studio presence, The Northman retains all of the qualities that one has come to expect in a Robert Eggers film. Even if it is more flawed than his first two features, The Northman is a hauntingly beautiful and at times captivating work of art.
Guardians of the Galaxy Vol. 3 is a desperately needed shot in the arm for Marvel -- a film bursting at the seams with energy and creativity, and one of the very best entries in the entire MCU. James Gunn is a master at threading the needle between absurd humor and heart-felt character drama -- only he could make you feel genuine emotion for a foul-mouthed CGI raccoon. Gunn's long hiatus may have paid off in the end, as it feels like he brought his A-game to his Marvel swan song.
After a really solid outing with Thor: Ragnarok, Taika Waititi returns to the director's chair in Thor: Love and Thunder, with far less favorable results. By far Waititi's weakest film, Love and Thunder is a stale, tonal mishmash, with only brief glimpses of fun.
Yet another funny, original, and meaningful work by Taika Waititi. Hunt for the Wilderpeople is delightful, and features the vastly underappreciated Sam Neil in one of his finest roles. He's always been so much more than "that guy from Jurassic Park," and it really shows here.
Simply wonderful, Jojo Rabbit is an easily endearing mix of comedy and drama with a heartfelt story centered around otherwise uncomfortable subject matter. It never once disrespects or makes light of the history it's portraying, while managing to pull off humor that would feel right at home in a Monty Python sketch or Mel Brooks feature. The cast is superb all around, held together mostly by terrific child actors; however, Thomasin McKenzie may be the film's number one breakout star.
Taika Waititi's What We Do in the Shadows is the best mockumentary since the glory days of Christopher Guest. Hilarious and creative, it also shows a deep appreciation and understanding of classic vampire movies dating all the way back to the silent era.
A whimsical and charming romantic comedy with a solid script and some fun performances. Eagle vs. Shark succeeds in its simplicity, even if the best of Taika Waititi was yet to come.
David Lynch's thought-provoking and erotic thriller is one of the true masterpieces of the 21st century. A hypnotic, dream-like experience that will stay with you long after the credits roll.
While it isn't his worst film, never has Zack Snyder's penchant for perfectly adapting a source material aesthetically while completely missing its point thematically been so apparent than with his adaptation of Alan Moore's classic Watchmen. Snyder clearly idolizes these characters, whom Moore wrote intentionally as selfish, arrogant, cynical, hypocritical, cowardly, and downright terrible people.
Overhyped and overrated, 300 is a microcosm of the worst aspects of both Zack Snyder and Frank Miller. Yes, it's visually striking; to the point of being able to pull the wool over the eyes of the audience in regards to its one-note characterizations, poor writing, and frighteningly blatant fascist, homophobic, and racist undertones.
Zack Snyder's best film despite himself, the Dawn of the Dead remake works best when James Gunn's original script seeps through. It doesn't hold a candle to George Romero's high concept original, but this lowbrow adaptation is a fun time and holds both some big intentional and unintentional laughs.
One Cut of the Dead is one of those movies that you owe yourself to see without seeking out any information on it beforehand. This fun, funny, original low budget film is made for anyone who loves the craft of filmmaking, or for anyone who has ever attempted to make a movie in their life. Regardless of scale or budget.
A really strong reboot for Universal's reboots of their classic monster franchises. While not every aspect of this film is successful, director Leigh Whannell nails the important elements. The Invisible Man is highly tense and suspenseful, while the portrayal of victims of abusive relationships is believable and treated with the appropriate level of respect. Elisabeth Moss' performance is the key to holding the entire film together; she's exceptional, and should not be forgotten come awards season.
