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‘HUSTLERS’ Would Be a Guilty Pleasure, If It Weren’t Also Pretty Damn Great

This whole country’s a strip club. Or so says Jennifer Lopez’s hard-stripping, drug-dosing, cash-stealing Ramona. A stripper with a heart of mink fur, Ramona posits, “Someone’s got the money and the rest of us dance for it.” Her solution to this American ordeal is a brand of laissez-faire free market exchange: dress to kill, ensnare rich dudes, add drugs, run up their credit cards. Ramona and her merry band of clothing-optional pilferers trade in hitting the pole to hitting credit limits. And their gambit works. Skipping the whole lap dance flesh transaction and getting straight to the knock-out bling-bling money-please of it all, Ramona runs a crew of ambitious and unscrupulous ladies who take from the rich and give to themselves.  Read More

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‘IT: CHAPTER TWO’: The Miniseries: The Movie

It: Chapter Two, the highly anticipated sequel to 2017’s mega breakout hit It, is that impossibly rare horror sequel that is quite simply too big to fail. And you can damn well bet that the suits at Warner Bros are doing a high-kneed happy dance considering that, taken as a stand-alone film, It: Chapter Two is a bit of a slop-fest. Its unwieldy size and lack of editorial prowess makes for a patience-testing but scare-pocked horror odyssey better suited to the long-form narrative afforded by the small screen. In feature film form, It is more bloat than float.  Read More

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Over-The-Top Horror-Comedy ‘READY OR NOT’ A Bloody Hoot

And you thought your in-laws were bad. Ready or Not, the splatter-tastic, tongue-in-cheek horror comedy from directors Matt Bettinelli-Olpin and Tyler Gillett (Southbound) is a subversive little slice of late summer mayhem that doubles as a masterclass in how not to welcome a new addition to the family. Grace (Samara Weaving) is marrying into the Le Domas family, a wealth-stricken collection of gaming barons, but her vows come with the unexpected consequence of a mandatory midnight game. When she draws a card that demands a ritualistic, bloody bout of hide and seek, the Le Domas’ playful inner world reveals itself to be one as sinister as it is opulent.  Read More

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Sunny ‘THE PEANUT BUTTER FALCON’ a Ray of Hope in Otherwise Bleak Times 

In the era of an American president who openly mocks disabled people, Tyler Wilson and Michael Schwartz’s The Peanut Butter Falcon is a defiantly feel-good revelation, one that dares to celebrate the differently-abled amongst us in a story whose behind-the-scenes drama is just as heartwarming as what lays on the page. The saga involves an aspiring actor with Down Syndrome, two homeless wanna-be filmmakers living out of a tent and a Hail Mary DM to Josh Brolin. And that’s all before the movie even gets started. Read More

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Raunchy, Sweet ‘GOOD BOYS’ Makes for Raunchy, Sweet Good Times

The 12th year of any child’s life is hand’s down one of the hardest. Puberty. Crushes. Kissing – or, worse still, not kissing. Navigating tribal social hierarchies. Pimples. 12-year olds are cruel by nature, subhuman often. Nasty little balls of hormones and primordial grease, desperate for acceptance, playing at their sick game of systematic demoralization. But so too can they be funny little buggers – particularly in hindsight – and never moreso than in Point Grey Picture’s uproarious and devious little guy comedy, Good Boys. Read More

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Linklater’s ‘WHERE’D YOU GO BERNADETTE’ a Shocking Disaster of a Movie

Where’d you go Richard Linklater? The homegrown Texan auteur known for such critical darlings as Boyhood, Dazed and Confused and the Before Trilogy as well as commercial hits like School of Rock and Bad News Bears has always been a bit of a wild card when it comes to what kind of movie he’ll spit out next but his choices have always been interesting, often experimental, and always gifted with some kind of personal touch, all elements that are almost entirely absent from his latest film, Where’d You Go Bernadette, a befuddling trainwreck of a movie and the worst film of 2019. Read More

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‘SCARY STORIES TO TELL IN THE DARK’ Features Frightening Ghouls, Lame Teenage Acting

Growing up in the 90’s, scholastic horror was all the rage. A generation cut their teeth on R.L. Stine’s ‘Goosebumps’, devouring forbidden stories of devious child heroes and things that go bump in the night, before graduating to Steven King works. Few threaded the needle between Stein’s adolescent-aimed novellas and King’s more mature themes better than Alvin Schwartz with his 1981 shorts collection “Scary Stories to Tell in the Dark”. A dark mirror reflection of Shel Silverstein whimsy and optimism, Schwartz’s bleak poems were outlandish and spooky, often eliciting Cronenbergian body horror and a sense of cruel recompense to disturbing effect. Coupled with Stephen Gammell’s drawings, a splattering of acid-influenced black-and-white gothic art pocked with American splotches of red, white, and blue, “Scary Stories to Tell in the Dark” were OG nightmare fuel for a whole generation of kiddos looking to get their kicks with a good bedtime scare.   Read More

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Stirring ‘HONEYLAND’ is Documentary Filmmaking Pot of Gold

Sometimes a great documentary requires nothing more than sticking a camera in a previously unimaginable place and stepping out of the way. Honeyland is that breed of fly on the wall observational cinema but one that also magically captures universal circle of life arc. Directors Ljubomir Stefanov and  Tamara Kotevska present the material in a naturalist and unfussy vérité style, dropping us into a world as alien as the surface of Mars and allowing us to exist in its fragile buzzing ecosystem for 85 wonderful minutes.  Read More

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Taut ‘LUCE’ A Creeping Mystery Box Thriller With Great Performances

We like to think we know the people in our lives, especially those in our close-knit little nuclear families. But do we ever really know what someone is capable of? Who they are beneath it all? What they want and what they’re willing to do to get it? Whether they will threaten those on their bad side with fireworks? For most of us, the answer is probably yes, yes, yes, yes, and no but for Amy Edgar (Naomi Watts), it might not be so clear. Read More

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‘FAST & FURIOUS PRESENTS: HOBBS & SHAW’ Is Fatigued Action Cartoon Bupkis

From VCR heists to saving the entire world from a virus that melts your insides, The Fast & Furious franchise has long been one of fast and furious reinvention. With a tradition of shifting cast lineups, the car-based franchise saw its crew transition from small-time criminals to world-class agents and assets who global governments call upon when a situation is too big for them to handle. The early days of the Fast franchise, in a sense, saw one spin-off after another. The second movie (the egregiously titled 2 Fast 2 Furious) kept only Paul Walker from the original 2001 flick while adding newcomer Tyrese Gibson into the mix. The third (Tokyo Drift) shifted to another continent entirely and had only the thinnest of connective tissue to previous installations vis-a-vis a throwaway Vin Diesel cameo. It was only when the films jammed everyone together and added Dwayne Johnson into the mix in Fast Five that everything started coming up diesel.  Read More