In the realm of horror, few franchises are as steeped in blood-soaked lore as Sam Raimi’s Evil Dead. The latest entry, Evil Dead Rise, cleverly distills the iconic universe’s brutal charms while simultaneously stirring in a fresh batch of viscera. It’s a gory, gruesome, gregarious ride that’s more than just a rehashed resurrection; this fifth entry to the franchise is a blood-thirsty demonic rebirth, that’s both reverential and innovative in equal measure. Much like a vinyl record that keeps on spinning, this franchise seemingly has an endless groove of gory goodness. Read More
It’s Grizzled Prospector vs. Nazis In Badass War Actioner ‘SISU’
There’s an entire genre of movies where a grizzled old-timer with a particular set of skills gets entangled with unsuspecting ruffians who mistakenly stick their noses in his business. Sisu, a Nordic import from writer-director Jalmari Helander, distributed in the U.S. by Lionsgate, is exactly that movie. Only a bit better than you’re used to. Helander’s down-and-dirty prospector vs. Nazi actioner has no interest in rewriting the bones of these familiar trappings so much as getting that formula almost perfectly right, in part by setting it in Nazi-occupied Finland in the closing moments of WWII. Focusing on over-the-top physicality and no-holds-barred brutality, Sisu is an ultra-violent exploitation B-movie that caters to its simple strengths at nearly every junction. Read More
Existential Dark Comedy ‘BEAU IS AFRAID’ is Unhinged, Overlong, Hysterical
Reeling from the death of his iconoclast mother, an emotionally stunted, mentally ill man must traverse to her funeral in Ari Aster’s oft-indescribable dark comedy, Beau is Afraid. Aster frames the journey as if he were Homer himself, making for a melodramatic and depraved comedy of errors turned familial nightmare, stuffed to the brink of bursting with pure orchestrated chaos. Shocking, subversive, and very often hilariously funny, the genre-defying A24 feature stars Joaquin Phoenix as the titular Beau, a man for whom the pressures of the world are quite overwhelming. The film plays like What About Bob as remade by the director of Hereditary, but as an Oedipal fever dream. It’s a lot thematically. It’s a lot structurally. It’s a lot from a performance-perspective. It’s just a lot of movie. And most of it is pretty brilliant. Read More
Army Commercial ‘GUY RITCHIE’S THE COVENANT’ Fails to Explore Anything of Value
Guy Ritchie’s The Covenant, stylized as written, with the director’s name in the title, for reasons unknown, is the kind of movie that feels the needs to define what “covenant” means for its audience. This takes place not in the opening moments, but as a punctuation mark to the whole affair. As if the intended audiences is so unfamiliar with the dictionary that they don’t even understand the definition of a seventh-grade vocab word. And yet would still show up to see a movie called The Covenant. I’m sorry, Guy Ritchie’s The Covenant.* This fact becomes even more bewildering the more we dig into what this alleged “action-thriller” is actually about and what its apparent intention is. Read More
‘RENFIELD’ Is a Cringy Husk of a Vampire-Comedy
In a world where the utterly iconic What We Do in the Shadows exists, it’s a real affront to the entire motion picture medium that a hacky, low-brow vampire-farce like Renfield somehow passes muster and makes its way onto our screens. Reanimating the corpse of the Dracula story for this “horror-comedy” – one that’s notably short on both horror and comedy – director Chris McKay (The LEGO Batman Movie, The Tomorrow War) mashes together the lowest common denominator (demon-inator?) of both genres to make something that is almost entirely devoid of charm, joy, and a pulse. Read More
‘AIR’ is Supremely Likable But Short of a Slam Dunk
Ben Affleck’s unlikely sports drama Air is a surprisingly involving, often very funny piece of corporate histrionics. The Amazon Studios and Warner Brothers coproduction about Sonny Vaccaro (played by Matt Damon) and Nike’s risky venture to land a contract with hotshot NBA rookie Michael Jordan in a bid to invigorate their failing basketball sneaker line isn’t the kind of movie that pops on paper but under Affleck’s steady hand, it’s a verifiable upset of a feature. Read More
‘JOHN WICK: CHAPTER 4’ and Why You Don’t Get Sick of the Wick
What is a John Wick movie? A confluence of neon-lit backdrops, thumping EDM kill music, a stony Keanu Reeves hacking through monosyllabic dialogue, and more minutes of gun-fu action choreography than most other movies have just plain minutes, John Wick has become a genre unto itself. A John Wick movie is just that: a John Wick movie. And this John Wick movie, John Wick: Chapter 4, is the most John Wick of them all. Read More
Beef-God Jonathan Majors Elevates Otherwise Disposable, Enjoyable ‘Creed III’
In the world of boxing movies, the overlap between predictable and enjoyable is pretty much the whole piece of the pie. The protagonist is going to take some punches, get their licks in, face unsurmountable odds, blood a lot, and then ultimately triumph. Pepper in some sweaty training montages and sizzling pump-up jams and you have the makings of a perfectly serviceable sports drama. However, the best movies within the subgenre build in stakes that don’t depend entirely on the hero winning the big match (see Rocky, Creed). Despite being entertaining to varying degrees, their sequels often fail to do the same. Read More
Grizzly ‘COCAINE BEAR’ Is Barely Even a Movie
With the aptly titled Cocaine Bear, there is indeed a bear who is on cocaine. If that’s all you’re looking for from a movie like Cocaine Bear – a bear on cocaine who attacks humans – I guess this ought to satisfy those bare minimum requirements. If however you’re looking for things like three-dimensional characters, well-written bits, or even basic movie logic, you’ll find Elizabeth Banks’ film pretty, well, barren. Read More
Derelict ‘ANT-MAN AND THE WASP: QUANTUMANIA’ Is Marvel’s Worst Yet
Ever since Endgame, the Marvel machine has seen its meticulously-plotted designs start to come apart at the seams. The latest to grind its wheels forward in this shared universe is Peyton Reed’s Ant-Man and the Wasp: Quantumania and let me tell you: it’s not good folks. It is very, very not good. Throughout 31 (!!!) films and a handful of other Disney+ tie-in shows and special presentation one-offs, the MCU has delivered its fair share of highs and lows but never before has it unleashed such an objectively terrible content clunker. Ant-Man and the Wasp: Quantumania is Marvel’s worst yet, seriously putting into question this critic’s commitment to keeping up with this increasingly disjointed and time-consuming franchise. Read More