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Cannibals Need Companionship Too In Rangy ‘BONES AND ALL’

Sympathy for The Devil 

Luca Guadagnino has made a career of sucking every last ounce of fat from the narrative bones of his projects. From his arthouse critical darling Call Me By Your Name, a sweeping pedophilic queer romance, to his celebrated – though gaudy and overwrought – remake of Suspiria, Guadagnino suckles on the teat of indulgence. This viewer has found Guadagnino’s style overtly lugubrious, feigning depth by overstaying his welcome, applying a Terrence Malick aesthetic template to otherwise intriguing conceptual pitches. This is no different in his latest adaptation, Bones and All, a cannibal love story that 100% should be my jam but wasn’t entirely. Read More

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Weinstein Investigative Procedural ‘SHE SAID’ Puts the Whole System on Trial 

Nasty Women Unite

An effective tribute to the institution of the free press, Maria Schrader’s She Said traces the roots of the #MeToo movement back to a high-stakes investigation into Miramax’s super-producer, the now-incarcerated Harvey Weinstein. Told through the lens of an old-school investigative procedural, Schrader’s film is an examination of individual injustices against specific women – both familiar high-profile actresses and lesser-known assistants who suffered Weinstein’s advances equally – and the structural hierarchy put in place to protect their violators.  Read More

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‘THE MENU’ Deliciously Satirizes the Cult of Kitchen

A Taste of Honey

Margot Mills (Anya Taylor-Joy) is not supposed to be dining out at Hawthorne. After all, a table at Hawthorne is amongst the most difficult reservations to land on the planet, held solely for the affluent, celebrities, and those with their own gravitational sphere of influence. From the moment she arrives at the esteemed remote island restaurant, Margot is out of place against the other diners. Esteemed critics, minor celebrities, finance bros – the usual suspects have gathered to taste the creations of Chef Slowik (Ralph Fiennes). And then there’s Margot. The worst part? She doesn’t even really like the food. Read More

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‘HALLOWEEN ENDS’ Simultaneously a Weird and Rote Send-Off to a Killer Icon

Evil Goes Viral

Even if Halloween Ends is a messy, weird, convoluted, predictable, and only quasi-satisfying conclusion to the 40-plus year Michael Myers saga, you have to give it credit for actually trying something new. For much of director David Gordon Green’s trilogy-capper and alleged conclusion to the franchise (at least for now), Mike Myers is MIA. He’s gone. Not involved. For the vast majority of the film, he exists moreso as the lingering idea of the nature of evil than as an actual hulking killer. Instead the focus is on an entirely new character, Corey (Rohan Campbell), a hapless teen who gets roped into a night of babysitting. One prank gone wrong later, Corey accidents kills his charge.  Read More

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‘THE BANSHEES OF INISHERIN’ Examines the Tragic Hilarity of a Country at War With Itself

A Very Civil War

The year is 1923. In Inisherin, a small, remote island off the east coast of Ireland, the days are filled with an almost apocalyptic ennui. From across the bitter cold of the Atlantic, the report of gunfire and cannons signal the ongoing Irish Civil War. Ireland’s Civil War came on the heels of their War of Independence from Great Britain. And claimed even more lives. It pit brothers and friends against one another, forcing allies who had fought alongside each other just the year prior against England at each other’s throats. The war was deeply personal and subsequently bitter and bloody. Read More

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‘SMILE’ Curses Audience With a Bloody Good Time

Grin and Bear It

For those who have experienced it, trauma becomes a dormant passenger. Quietly lurking, but always there behind the curtain. A pile of kindling awaiting a match. In Parker Finn’s supernatural-psychological horror movie Smile, trauma manifests as a suicide curse. When a therapist’s patients brutally kills herself in front of her, Dr. Rose Cotter (Sosie Bacon) becomes the latest victim in a trauma cycle where a compulsion to commit suicide is passed on like a baton. In the world of Smile, if you watch someone kill themselves in spectacularly horrific fashion, you become doomed to die next.

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‘BEAST’ a Shaggy Summer Slasher With Sharp Claws 

Be Prepared

Idris Elba is Dr. Nate Samuels, a man visiting his late wife’s African homeland with his two teenage daughters in the predictable, playful creature feature Beast. The Savannah-set B-movie from director Baltasar Kormákur (Everest, 2 Guns) is a lean, mean summer slasher, all tightly-coiled, knuckle-headed muscle and razor-sharp claws lacking any more brain cells than absolutely required. A vengeful lion hunting humans for sport attacks the good doctor, his daughters Meredith (Iyana Halley) and Norah (Leah Jeffries), and their anti-poacher family friend Martin (Sharlto Copley) while the group is on safari. They must lean on their wits to outsmart the beast and come out of the bush in one piece. 

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‘THIRTEEN LIVES’ Explores the Depths of Human Ingenuity and Bravery in Workmanlike Retelling

It Takes a Village

Thirteen Lives, Ron Howard’s dramatic retelling of the 2018 Tham Luang cave rescue, takes an understatement approach to heroics, swerving away from the dramatic fanfare and teary-eyed grace notes of a typical Hollywood feature and relying instead on something more workmanlike, cut-and-dry, and almost minimalist. The true story that inspires Thirteen Lives has already been brilliantly told in National Geographic’s 2021 documentary The Rescue and Howard largely offers an unfussy translation of those events, without a lot else. In some senses, it could be argued that this feature film is an unnecessary addition to the story as it doesn’t provide any significant new wrinkles to the story as told by documentarians Jimmy Chin and Elizabeth Chai Vasarhelyi. But Howard’s ability to turn historical drama into nail-biting cinema makes this a worthwhile venture nonetheless, even for those acquainted with the details.
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‘NOPE’: Spielbergian Sci-Fi Falls to Earth, Proves Jordan Peele is Human

Icarus Who Flew Too High…

The name Jordan Peele carries weight. The sketch comic turned horror auteur cut his teeth mocking the familiar. Often quite brilliantly. His skill as a caricaturist made Peele the perfect tool to spin something new from the weathered clichés he so often lampooned. He – more than most – knew the difference between frail and fresh. You mock enough knock-offs and you become the expert on what hasn’t been attempted yet. In time, the satirist became a sacred commodity. From his mind, two horror greats (Get Out, Us) were born. Nope, Peele’s third feature film, is one of the most hotly anticipated films of the summer, if not the entire year. All because of Jordan Peele. Read More

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Waititi’s ‘THOR: LOVE AND THUNDER’ As Aimless, Superfluous As The MCU’s Phase 4 Writ Large 

Or: How I Learned to Stop Worrying and Kill the Gods

It’s probably safe to define Thor: Love and Thunder, the fourth film in the main Thor series and eighth total appearance by Chris Hemsworth as the titular character in the Marvel Cinematic Universe, by what it is not. It is not as good as its predecessor Ragnarok. Going a step further, I’d wager to say that it’s likely the worst of the Thor-central flicks – the often maligned Thor: The Dark World included. It’s not well constructed; the story is jumbled and meandering, the tone is all over the place, the character arcs are fairly uninvolving and flat. It’s not as funny as it thinks it is; the jokes mustering some low-grade chuckles here and there but nothing at the level of writer-director Taika Waititi’s best work – nor is it even on par with Marvel’s better comedic showcases. In short, it’s just not very good. Read More