MovieRiffing

Boots Riley returns to theaters with I Love Boosters, a maximalist social satire that pits Corvette's (Keke Palmer) shoplifting Velvet Gang against Christie Smith's (Demi Moore) exploitative fashion empire - with a healthy dose of sci-fi surrealism on top. Unfortunately, while Riley delivers a feast of practical effects and craft, he fails to support the spectacle with a script that goes beyond surface-level social insights. The film’s unrefined editing further deducts style points, and Riley’s penchant for “tell don't show” flips potentially revolutionary material into trite sermon. Most frustratingly, I Love Boosters' limp and naive conclusion re-contextualizes the previous three acts as the flirtations of an artist trapped in a bubble, rather than the convictions of a revolutionary in the streets.

Nirvanna the Band the Show the Movie is difficult to describe and all the better for it. The film seamlessly blends together hidden-camera crowd work, archival footage, scripted scenes, and even high-stakes stunts. Matt Johnson and Jay McCarrol bring their script to life with such enthusiastic energy that any crowd should be captivated from start to finish. Hearing a full house gradually key in on a joke is so much fun, and is something Nirvanna the Band the Show the Movie continuously sets up so well. Whether it's riffing off changes in socially acceptable language or going full send with Chekhov's Gun, the film knows how to deliver a punchline. Find a packed room or theater, grab some popcorn, and kick back and listen as Nirvanna brings the house down.

Good Luck, Have Fun, Don't Die is one of the best surprises to hit theaters in recent memory. Director Gore Verbinski and Writer Matthew Robinson have crafted an absurd, darkly humorous sci-fi adventure / satire that takes aim at a number of contemporary issues. AI, screen addiction, harmful escapism, and even school shootings are all meticulously dissected, examined, and subsequently skewered. Watching a mysterious man from the future (Sam Rockwell) recruit and lead a crew of misfits from the local diner to take on an AI-child demigod might be the closest we're going to get to a cathartic release in these tumultuous times. While a clunky third act and uneven CGI do hamper the film, they're not nearly enough to derail it. Good Luck, Have Fun, Don't Die is The Matrix made for the the moment, and shouldn't be missed.

No Other Choice is a beautifully shot film with much to say about all of our daily fights for survival. While Yoo Man-su (Lee Byung-hun) attempting to eliminate other paper professionals so he can provide for his family is the main crux of the story, his victims and supporting cast allude to a much broader struggle innate to the human condition. Director Park Chan-wook's exploration of this proves to be thoroughly entertaining and darkly comedic, even if much of the film doesn't have the same moment-to-moment bite as his best works (e.g., Oldboy, The Handmaiden, Sympathy for Mr. Vengeance, etc.).

Avatar: Fire and Ash successfully carries on the beautiful spectacle of the first two films in the series, with a moving score and captivating climatic battle scenes to match. The new villain, Varang (Oona Chaplin), also manages to steal nearly every scene with her obsession for fire and bloodlust - a much needed dose of fresh personality. Unfortunately, James Cameron pairs these highlights with a shockingly clunky script and uncharacteristically choppy editing. While the film is still worth seeing on the big screen, the engaging world of Pandora is starting to buckle under the load of all the mediocre baggage its carrying. If this series is to continue, director James Cameron will need to tighten it up.

Marty Supreme never takes its foot off the gas as it takes you along for the ride of a lifetime. Every twist and turn in Marty's (Timothee Chalamet) journey back to the ping-pong mountaintop, joyous or not, leaves your heart beating even faster than the scene before. You can't help but watch as one man does whatever it takes to achieve greatness. You don't even have time to process all of the damage he's left in his wake. You can't help but cheer. Director Josh Safdie holds up the American Dream for us all to see and asks, have we gone too far? Marty Supreme reigns over all other 2025 releases, and is the best of the year.

Kill Bill: The Whole Bloody affair does more than just stitch together two separate volumes of the same story. While an extended anime flashback, colored Crazy 88 fight, and additional changes are all welcome, the elevation of Vol. 2's material is where The Whole Bloody Affair truly shines. No longer is Vol. 2 left to awkwardly stand on its own, but now all of its emotional twists and turns are properly delivered in real time. 22 years after the release of Vol. 1, the definitive way to watch Quentin Tarantino's epic is here.

The Running Man (2025) is a shockingly disappointing effort from auteur director Edgar Wright. His trademark editing, witty dialogue, and snappy pacing are all conspicuously missing. Instead, they're replaced by a frustratingly rushed first act, an abruptly interrupted finale, and poorly acted side characters who always manage to derail a moment. Glen Powell does his best to hold all the pieces together, and there are real bright spots when the hunt is at its peak, but it's all too much to overcome. Halfhearted critiques of the media and AI-powered deceptions aren't much to engage with either. It's safe to run far away from this one.

Bugonia is another strong entry in Yorgos Lanthimos's rapidly growing catalogue. This remake of 2005's South Korean cult classic, Save the Green Planet!, improves on the original in both its technical and thematic aspects. The parallels between modern society and the collapse of the honey bee colonies it draws are incredibly effective, with the final scene (and honestly, the entire third act) being particularly poignant (and delightfully outlandish). Emma Stone and Jesse Plemons both deliver great performances, and help carry the dialogue heavy film. While Bugonia drags some in the second act and Don is not the most compelling of accomplices, it succeeds in what it sets out to do, and should satisfy more than just Lanthimos diehards.

John Wick: Chapter 4 is the culmination of the entire series and represents the perfection of all of the different ideas and concepts that have been toyed with up until now. The film’s lengthy runtime flies by, with every second of it earned. It not only delivers top notch inventive action sequences, a Hotline Miami inspired climax which will leave you mesmerized, and a satisfying payoff to the earlier entries’ elaborate world building, but it accomplishes all that with such visual and auditory style and finesse that it honestly sets a new standard for martial arts films moving forward. John Wick: Chapter 4 is a crowning achievement for the genre.

From the opening scene, Titane continuously doubles down on its own outrageous absurdity until it suddenly pulls back. You go from watching a thriller, to body horror, to something that has a lot to say about what it means to be family. Specifically, what it means to be family in action, not just by blood or oil. Titane somehow addresses gender fluidity, the role of parents to support and accept, the male ego slipping as bodies and testosterone age away, and the opportunity to choose a family not given to you by birth all while bombarding the screen with gore and squirm inducing violence. You find you cannot look away from these disturbing images partly because of how beautifully Titane presents them and partly because they all have something to say. Even though the film may retreat too far from its own deliriousness in the second half, it comes speeding back just in time for a finale that will have you guessing until its last push. Strap in because Titane is one hell of a ride.

The Suicide Squad (2021) succeeds where the 2016 adaptation fails. Director James Gunn uses his talents to inject the film with his trademark comedic style. Over-the-top violence and physical comedy carry The Suicide Squad (2021) far, but sometimes too far. Poor writing creeps in with lazy crude humor, and due to the dedication to non-stop action the film often feels hallow. Regardless, it is a solid experience and is worth watching for Polka-Dot Man alone.

Extraction comes out at a time when a lot of people could use some extra action in their lives. Sadly, Extraction only provides the absolute minimum. Sure, it has all of the requisite explosions and killing, but it lacks any sense of style. If you have seen an action movie from the last 20 years then you have essentially already watched Extraction. It is a shame that the film could not have more of an identity of its own. I was hoping Extraction would help break up the monotony of quarantine life, but instead it fit right in.

The Invisible Man successfully reworks one of Universal's classic horror movies into a modern tale of mental abuse and manipulative relationships. Long shots down hallways and extended shots on empty space build tension and a sense of voyeurism due to the innate nature of the beast. The film's climax temporarily loses the sense of paranoia it so carefully crafted, but it manages to recover to a large degree afterwards. The Invisible Man is a must-see film for any fan of the psychological thriller/horror genre.

The Hunt fails to ever get past its one-dimensional jabs and make an actual point. Sure, Betty Gilpin gives a great performance as Crystal and the shocking and abrupt violence can be entertaining, but The Hunt does its best to repeatedly pull you out of your enjoyment. Consistent groan inducing jokes and twists that ultimately lead nowhere do not help its cause. By the end of its runtime, The Hunt has forgotten what it set out to do and quickly cuts to black before you can start questioning it.

Jojo Rabbit's wit and heartwarming message come together to form a fantastic film. Taika Waititi, while playing (an imaginary and flamboyant) Adolf ****, uses Jojo Rabbit to look at the indoctrination of the emotionally vulnerable and what can be done to save them. Encapsulating this message are legitimately hilarious moments, deconstructions, and political satire. With such a sensitive subject matter, any attempt at comedy needs to have a point and needs to actually be funny; Jojo Rabbit sticks the landing.

Director Cathy Yan packs Birds of Prey full of colorful energy and creative action. Its fight choreography separates it from the more drab comic book movie fare, and it has legitimately funny moments. However, with its foot firmly on the pedal, it too often races ahead into cringeworthy humor and extraneous exposition. Birds of Prey hopes the sugar rush does not wear off until the credits roll, and for the most part it succeeds. However, it is impossible not to notice the bloat.

Sam Mendes' 1917 delivers some truly awe-inspiring set pieces with the aid of its one-shot effect, but fails to take advantage of it when trying to bring stress levels back down to Earth for its quieter scenes. Not only does it not take full advantage of it, but at times the one-shot becomes truly distracting and out of place due to wonky camera work. 1917's spikes of gorgeous tension make it a must-see film, just one that does not live up to its potential.

Director James Gray presents a visually stunning film, but one that lacks substance. Ad Astra's slow and methodical pacing culminates in a disappointingly hackneyed climax, where the mounting tension goes to waste. With nothing new to say, Ad Astra resorts to the same messages on family and appreciation that other films have been doing more uniquely for years. Put Ad Astra on in the background as a pretty screensaver and you will not be missing much.

Parasite stands atop the rest of the competition as the best film of 2019. Director Bong Joon-ho delivers his masterpiece, a film that has you hooked from the very beginning. Over the course of Parasite's runtime, it draws you deeper and deeper into its world, demanding more and more of your attention. Just when your investment in the characters peaks, Bong Joon-ho takes Parasite off the rails and delivers a striking message on the innate struggles between classes. Add in fantastic performances and cinematography, and you have the must-see film of 2019.

The Safdie Brothers and Adam Sandler never relent in Uncut Gems. One scene after another, they continue to nurture and grow the building anxiety in the air. As Sandler's character continues to spiral downward in a pit of his own creation, you cannot help but watch and cheer him on to dig deeper. As the final scene concludes it leaves a sense of exhaustion in its wake, but it is not long before that exhaustion is replaced by a hunger for more.

Director J.J. Abrams attempts to use The Rise of Skywalker as both a conclusion to the Skywalker Saga and as an apology for The Last Jedi. In doing so, Abrams forces the film to rush through much of its runtime and story, simply due to the bloat. If you are on board for the story and in-universe changes then the last third of the film still has something to offer. A few spectacular moments and nostalgia hits make the climax an enjoyable sendoff for the saga, but the pacing and patchwork nature of much of the film leaves a bad taste in the mouth.

Knives Out is a great time through and through. Rian Johnson expertly weaves his mysterious threads to create another fantastic addition to the whodunit genre. The cast joyfully embrace their roles, radiating a playful energy throughout the entire film. Just enough structural changes are made to the classic formula to make Knives Out feel fresh and new. A few flat jokes and one minor limp reveal cannot ruin what is otherwise one of 2019's most enjoyable films.

Based on an engaging, important, and ongoing story, The Great Hack manages to fumble it all away. The Netflix documentary tries to stylize what could be viewed by some as just complicated tech news, but in doing so waters down the content. The Great Hack presents witnesses and facts in a haphazard manner; which when dealing with such politically charged material, does not come off as trustworthy. Those looking for a nice recap of events could give this a watch, but no new viewpoints or details are brought to the table for anyone else.

Yorgos Lanthimos' The Lobster opens spectacularly, inviting your imagination to explore the grand dystopian future it presents. It proceeds to dole out sharp commentary on society's pressure to find and maintain a relationship at any cost, even by introducing a child to the dysfunction. However, all this goes to waste as The Lobster overstays its welcome. Without much more to say, the film drags along, promising a grand revelation in its finale. Alas, the final scene was telegraphed long ago to anyone paying attention, and lingers in the air like rotting shellfish.

Quentin Tarantino depicts 60's Hollywood in a way only he could. All of the staples of his filmmaking appear, but in a much more restrained fashion. The vast majority of the film lacks the grandiose swagger of his more recent films, but it successfully draws you into the atmosphere all the same. What some may view as bloated actually plays an essential role. Without letting the audience simmer in the magic of Tinseltown, Tarantino's signature explosive finale would lose its thematic punch. You may not get as much out of repeat viewings of Once Upon a Time in Hollywood compared to the rest of Tarantino's filmography, but the first time is exceptional enough.

Stanley Kubrick's controversial masterpiece stands the test of time. Diving deep into themes of rehabilitation, incarceration, morality, and the corruption of society, A Clockwork Orange forces the audience to come to their own conclusions. Kubrick sets the stage for self reflection through expert cinematography and a number of brilliant performances. The film presents a complex question surrounded by many possible conclusions, and refuses to spoon-feed the audience. Like the hands on a clock, not much progress has been made by the time the story is over, but that is entirely the point.

The Lion King (2019) perfectly encapsulates Disney's new wave of soulless remakes. A one-to-one retelling of the same story cannot escape comparisons to the original, and when the original outperforms the newer model in every way, what is the point? Abysmal voice-over performances, characters lacking any form of defining traits or emotion, and musical showpieces that forget to show anything plague the film. No reality exists where someone chooses to watch The Lion King (2019) over the 1994 classic after this release window closes.

One would hope that on the second attempt of telling Broly's origin story all of the kinks would be ironed out. Unfortunately, this new entry brings issues of its own. Instead of silly (but somewhat charming) narrative devices bogging down the story, this time truly dreadful CGI ruins the final showdown. Interrupting beautiful 2D animation with underfunded 3D efforts has become commonplace in modern anime, and Dragon Ball Super: Broly got hit square in the face.

Spider-Man's delightful return to theaters comes with some minor CGI and quipping problems, but what it does well far outshines those issues. Terrific chemistry between Holland and Gyllenhaal sets up some of the MCU's most visually appealing set pieces that fans won't soon forget. The film's great situational comedy (again, not the quips or recurring jokes) and scarily accurate portrayal of modern high-schools will keep a smile on your face. Remember to stay for both post credit scenes, as they have a huge and direct impact on Far From Home's narrative.

The Dead Don't Die runs far with its bleak premise and dry humor, but it can't outrun the heavy handed mess lurking within the finale. Any Bill Murray or Jim Jarmusch fan should see this and I recommend the film as a whole, but it is not priority viewing.