The ending sequence is exquisite. I can concede some moments are overdone, a death scene in particular. But the cumulative power of this beautifully shot and acted film is undeniable.
Hysterical and could become this generation's Mean Girls. Havana Rose Liu is maybe the true breakout here, but the known talents of Ayo Edebiri and Rachel Sennott are of course as wonderful as ever in leading roles.
This movie is about a security clearance hearing, communism and men betraying each other more than it is about the moral and ethical quandaries of making an A-bomb during war, or the people of Hiroshima and Nagasaki. There are great performances here, as well as several arresting images and impressive sequences of editing, particularly during the Trinity test and when Oppenheimer addresses a rabid crowd of patriots after the bombings. But this viewer was left with an overwhelming and frustrating sense that the real story was ignored.
Misogynists, incels, and racist review bombers have landed! Funny how Barbie has managed to make everyone angry at some point in her more than six decades as a brand. The movie is obviously a genius rebranding campaign. You could say Gerwig and Baumbach were duped. But it's also a helluva fun time and the best outcome you could dream up for a branded film.
Air mythologizes the sports marketing executives behind a shoe instead of telling the more interesting and emotional story of the Jordan family who Affleck intentionally puts on the sideline here. It's still an entertaining movie thanks to a charismatic cast, but a missed opportunity. Already the most overrated movie of the year.
An enjoyably suspenseful first two acts that get a lot out of the dynamics of being too nice, and the awkwardness of friendships between people who just shouldn't be friends. And then there’s the final act, sick and twisted, it’s murky purpose offering absolutely no comfort or satisfaction.
While it too often feels more like an intellectual and ethical exercise than a movie, it's still at times captivating. A powerful performance from Claire Foy.
Review bombers have ascended from hell I see. 'Bros' is packed with sharp one-liners and hysterical cameos. So many jokes you'll probably miss some. Some may have gripes with the casting and the love interest and if it goes far enough bucking the mainstream. Make no mistake, it's a rom-com, and the most consistently funny one in a long time.
Wow Metacritic can you do something about the racists and misogynists that review bomb everything involving POC and women? It's not perfect, particularly in the first half of the movie, but it's a thrilling ride with an amazing cast. You knew Viola Davis would be good, but it's all about 'Underground Railroad' star Thuso Mbedu -- what a star.
Homophobes and racists came out real quick here in the user ratings. This is a thoughtful, enjoyable, heartwarming film. It's nothing groundbreaking, perhaps especially for a community that will find this painfully (and often hilariously) true and relatable. The cast is fantastic all around. Equating it to a cult classic comedy like Clueless feels like a bit much -- it's a more restrained, realist take.
Try as the Little Monsters might to keep this User Score high, the movie is worse than you think. Yes, the actors are in different movies. Yes, the accents are all over the place. Yes, it’s actually quite dull. Gaga’s fierceness and Leto’s insane performance can only do so much to make it watchable. There’s not nearly enough of their lunacy, which the movie should have leaned into much more than it does. Neither are a good performance, but they make the movie slightly more watchable.
Tessa Thompson and Ruth Negga are incredible. The movie is a gorgeous examination of identity and how personal turmoil and insecurity can be just as damaging as external cultural forces.
It's not ALL bad. But it's not very good. In an attempt to offer something different than the other Britney docs, the creators are left with dead-ends and amateur-style production choices.
There's little effort to position the case in a broader context of domestic abuse, mental health, masculinity or the law. It's simply a voyeuristic, horrific timeline. As such, American Murder leaves you with a guilty, disgusted feeling. It's exploitative, invasive and ultimately shallow.
Anti-choice reviews are tanking the user score. This is a lovely film with strong performances at its centre (including little Ramona Edith Williams). It's a great feature debut for writer-actress Kelly O'Sullivan and a fascinating look at parenting and childcare.
Pro-lifers tanking the user score. This movie is slow, serious and vital. The powerful scene where the title comes from -- I won't get it out of my mind. Sidney Flanigan is great.
Metacritic has a misogyny and homophobia problem as evidenced by many of the negative user reviews here, many of which I assume were written by people who haven't even seen the movie. Booksmart is a "female Superbad," sure, but it's also a great movie that's written, directed and acted well. It also treats all its characters with humanity, something some of these misogynistic and homophobic user reviewers might want to try, rather than continuing their futile campaigns for men's rights.
At its best, the movie exudes some of the childhood whimsy of the Chris Columbus Harry Potter films. It's fun, but doesn't quite stick the landing in the biggest moments.
Toni Collette for Oscar. A chilling, stunning performance. When the classic horror elements start to come in (séances, attics), it's almost a relief from the more unsettling terrors in the film: watching a family emotionally deteriorate before your eyes. This really is "more than a horror movie." Scary good.
If it wasn't for Vanessa Bayer, IBIZA might be borderline unbearable. She and Phoebe Robinson save the movie from itself, which is neither a convincing romance or a particularly funny vacation movie.
The movie is not nearly as bad as its User Score suggests, which leads me to believe a whole lot of misogynists came on here without even seeing the movie. Schumer is charming as always. As the super-confident Renee Bennett she's playing a character we've seen her do before -- but when she's the insecure Renee Bennett, she shows a vulnerable side we haven't seen often.
Just about perfect. Will surely land Saoirse Ronan her third Oscar nomination, and better land Laurie Metcalf her first (how could that be correct?) and Greta Gerwig a directing nom for this stunning debut. Gerwig, a fine actress, somehow transcends the cliches of the coming-of-age story and makes Lady Bird feel like something entirely fresh. Hits every note perfectly.
Hilariously and cringingly of the moment, anchored by a great performance from Aubrey Plaza leading a perfectly cast ensemble. It's like a prequel to Black Mirror's season three "Nosedive" episode, at once laugh out loud and horrifying. Might just make you put your phone down.
Overlong but worth it for Tiffany Haddish and the women's hysterical absinthe-laced night out. One critic said it "feels like the first of its kind: a raunchy, endlessly entertaining comedy written by and starring black women." They're right and there needs to be more like Girls Trip.
“Do you know what people are capable of when they’re desperate?” Thoroughly disturbing. Not a fun horror movie. There are few jump scares or moments of lightness. Instead, it drips with slow-burning dread and paranoia. A masterclass of atmospheric horror. You don't need to know what the "it" is to be scared here. "It Comes At Night" mines the depths of fear and depravity. You've been warned.
An absurd third act cheapens an otherwise artful, clever film. It really didn't need to go there. But in the early robbery scenes, the film's use of silence is genuinely nerve-wracking.
Rachel Weisz as Hannah steals the film from its admirable leads. Though she enters the film halfway through her performance is understated and most deserves awards attention.
It's not really a story that needs to be told, because at this point it's been told many times. But Linklater knows how to write good characters (except female ones this time) and an intelligent script. It's not the level of Before Sunset or Boyhood, but it's mostly good fun.
You'll respect it a little and hate it a lot. It's provocation after provocation. We Need to Talk About Kevin is a well-acted, artful nightmare that I wouldn't wish on anyone.
It all feels too familiar but that doesn't keep it from being clever and enjoyable. The first act of 10 Cloverfield Lane feels a bit off, the actors can't quite match the absurdity of the script, but once the absurdity goes all out, the film settles into an anxious groove. The end is bonkers no doubt. Whether you enjoy the ending or not will depend on whether you like these "big reveal" sci-fi stunts or prefer the claustrophobia and tension of the psychological thriller that comes before it.
A stunning, impressively acted period piece. Though it will surely bore those who also hated The Babadook and It Follows, The Witch is another example of what horror is capable of -- truly great, atmospheric filmmaking.What The Witch has that the other recent great horror flicks of recent years doesn't though is a completely satisfying, unambiguous conclusion that will be welcomed by viewers who aren't a fan of "artsy" horror. It's a gorgeous, masterfully edited and scored, shocking 90 minutes.
An utterly ridiculous riot. It's certainly too long (could have been told in 4-5 chapters) and at times Tarantino and his cast lose grip on the humour. But when the final chapter is underway, few of the film's earlier failures matter at all. Jennifer Jason Leigh, Samuel L. Jackson and Walton Goggins are a thrilling trio.
A few strong moments anchored by Will Smith's performance can't save this weakly written drama. It's an important story that doesn't quite get to the hefty big picture it aims for. The romance too feels out of place and rushed.
An overwhelming film anchored by an impressive debut from Abraham Attah as Agu. Idris Elba is a force as Commandant. Kudos to Cary Joji **** for adapting the challenging first-person narrative of the source material into such a beautiful piece of work. Powerful stuff.
An intense, unflinching thriller with tremendous performances from a great cast. Emily Blunt is a real force as is Benicio Del Toro who ends up stealing the show from her in the final act. Beautiful and raw filmmaking.
A powerful, straight forward drama with a propulsive style and great cast. The ending is overwhelming in its simplicity. It's hard to imagine a classier, more respectful take on this important story.
A beautiful, old-fashioned romantic drama that will make your heart swell. Saoirse Ronan is fantastic, as are her supporting cast members. This is a near perfect MOVIE movie, impossible not to love.
Oddly structured around recurring arguments at three major product launches, it plays more like a stylized history lesson in parts. Still, the cast is phenomenal and the script is often exciting and funny even if it does dip into ridiculous melodrama.
Room is wonderful if a little bit overrated. It's gritty without being daring. The movie would fail without the amazing lead performance from young Jacob Tremblay and the great Brie Larson. It's an emotional ride, even if it all comes together too neatly.
The twist works in this ridiculously fun and genuinely scary M. Night Shyamalan thriller. The mockumentary style doesn't always play well, but it's a great way into the relationship between the two young stars and a welcome tweak of the "found footage" genre. Deanna Dunagan steals the show as the creepy Nana who crawls through the house at night, but 14-year-old Ed Oxenbould comes close as Tyler. The film falls apart in its final 5 minutes when the horror subsides and it throws in one dose of drama and a final dose of comedy. The mix of horror and humour works well throughout most of the film, but once The Visit becomes all-out scary-movie, it should have stayed there.
It has its moments (Marcia Gay Harden are in some of its best), but an uneven rhythm and lack of chemistry between Lily Tomlin and Julia Garner (not to mention Judy Greer) dampens much of the impact.
Devoid of style and led by an overrated performance crafted from makeup and swagger. "Black Mass" indeed has a great cast (Joel Edgerton and the underused Julianne Nicholson and Juno Temple shine), but it won't deserve many of its likely nominations come awards season. The film lacks momentum and flair. Instead it sits there banking off the cool performance of its lead star.
Impossible to like but easy to admire for its craft and extraordinary cast. Funny Games is uncomfortable and you'll probably hate it. Watts is superb though.
Better in theory than execution. It's pretty creepy for a while, but becomes ridiculous and somewhat grating. The actors do what they can in the scenes of high intensity, though they're best early on playing regular teenagers wondering who the creeper is on the other end of the Skype call. In the end, it has something to say about cyber bullying and that's enough.
