post

Unnecessary and Disposal ‘NOBODY 2’ Still an Entertaining Funhouse Riff on the Post-Wick Action Movie

Hutch Mansell (Bob Odenkirk) is $30 million in the hole after torching that much of the Russian mob’s cash in Ilya Naishuller’s surprisingly fun 2021 film Nobody. Now he’s stuck with daily “snatch and grab” gigs, usually involving the messy removal of armed goons, to chip away at the debt. The physical toll is obvious, but the emotional strain of missing time with his family, including his disappointed wife Becca (Connie Nielsen), is the deeper bruise. So Hutch, Becca, son Brady (Gage Munroe), daughter Sammy (Paisley Cadorath), and father David (Christopher Lloyd) flee to the country’s oldest waterpark for a little R&R. Naturally, the local law enforcement is neck-deep in bootlegging guns, money, and chemical weapons, and Hutch manages to stumble right into the middle of it. Violence, of course, follows like a blood-soaked shadow. Read More

post

‘FREAKIER FRIDAY’ Escapes the Content Mines of Disney+ to Pollute the Theater

Live-action Disney movies have shuffled back into theaters with Freakier Friday, a legacy sequel to a remake that sees Jamie Lee Curtis and Lindsay Lohan reprise their body-swapped mother-daughter roles from the 2003 film. Originally slated for Disney+, this Nisha Ganatra-directed cash-in is a strong argument for why some things really ought to stay on the small screen. Mostly because they stink. Everything is pitched at such a shrieky, shrill, over-glossed, sugar-rush volume with such broad, nose-clowning humor that it’s clearly designed for that special breed of Disney Adult, the kind who, like Peter Pan, simply never grew up and probably spent their honeymoon alongside Mickey and Minnie Mouse. Read More

post

Liam Neeson Wields a New Particular Set of Skills in ‘THE NAKED GUN’

Over 30 years after The Naked Gun 33⅓, a risky comic resurrection is now playing at your local theater. In an age of genre-bending comedy hybrids (see The Fall Guy, meh) and niche, catered offerings (see Friendship, loved), the traditional studio comedy has basically vanished. What used to be a regular fixture at the cineplex is now nearly extinct. The new Naked Gun isn’t just trying to revive that format; it’s a full-on throwback to a time when comedies weren’t afraid to be stupid, loud, and singularly focused on laughs. And while this movie is definitely all of those things, it’s also just plain funny. That Liam Neeson, now tragically deep into his post-Taken run of stoic, violent men with a particular set of skills, is anchoring one of the most laugh-dense movies in years feels like a joke in itself. But somehow, it lands. Read More

post

25 Best Movies of the 2020’s You Probably Haven’t Seen

Somehow, we’re already halfway through the 2020s. The world’s still on fire, the algorithms and A.I. have taken over, my readership is down (people love video, and yet, here I remain), and despite the fact that there is continued chatter about the death of cinema… great movies keep slipping through the cracks. While big franchise I.P. garbage continues to dominate the cultural conversation, there’s been a steady stream of bold, bizarre, and beautiful films flying under the radar. Whether they had a tiny theatrical run, got buried on streaming, or just never hit your watchlist, these are 25 films from this chaotic half-decade that you probably haven’t seen — but absolutely should. Read More

post

Fantastically Dull ‘THE FANTASTIC FOUR: FIRST STEPS’ Miscalculates Introduction to First Family

The MCU is dead. The MCU is back. The MCU is dead. The MCU is back. Someone put a fork in it. She’s cooked. But just you wait until the next one! And on and on the content carousel spins. Even as someone who had gripes with the Marvel machine well before Endgame, I found myself tossing out more than a few positive reviews in that era. In fact, there was a time when I felt rather pot-committed to the whole enterprise, even when its storytelling got obnoxiously self-aggrandizing and interconnected. Post-Endgame, it’s mostly been a tragic slide into mediocrity with some blips of quality. A few titles have become the lone bright spots in an otherwise bleak Phase 4/5 wasteland. Meanwhile, Ant-Man: Quantumania, The Marvels, Thor: Love and Thunder, Eternals, Captain America: Brave New World, and Thunderbolts all earned a solid splat from my little corner of the internet. Now, with James Gunn’s DCU breathing heavily down Marvel’s neck and the franchise’s future hinging on two upcoming Avengers movies (featuring Robert Downey Jr. returning, but as Doctor Doom, for reasons not disclosed here), The Fantastic Four: First Steps from director Matt Shakman arrives with downright heroic expectations. Expectations that are promptly crushed under the weight of its own blandness.    Read More

post

Being ‘TOGETHER’ Becomes the Ultimate Act of Codependency

A fantastically icky mash-up of black comedy and body horror, Michael Shanks’ Together is a biting satire about the horrors of codependency. And like any body horror that earns its stripes, it’s not for the squeamish. Real-life married couple Allison Brie and Dave Franco star as Millie and Tim, a decade-long duo who’ve decided to take the plunge and carve out the next chapter in their relationship. What follows is a twisted love story that’s equally weird, funny, and utterly nasty, taking their “growing together” to grotesquely literal extremes. Read More

post

All These Years Later, ‘I KNOW WHAT YOU DID LAST SUMMER’ Is Still Copying ‘Scream’

A legacy sequel nobody asked for, reviving a three-decade-old franchise that, let’s be honest, was never exactly beloved to begin with, 2025’s I Know What You Did Last Summer is generic modern slasher fare, but also kinda better than it has any right to be as an IKWYDLS fourquel. It slightly exceeds the low bar you’d expect, but not by enough to call it a top-to-bottom success. In a bit of (presumably knowing) irony, this sequel owes much to Scream (2022), just as the original was clearly cribbing from Scream (1996). You could argue the similarities between the franchises are coincidental, but like the skeptical cops of Southport, North Carolina, I’m not sure I’m buying it. The two franchises have been linked for decades, both helping to revitalize the slasher subgenre in the ’90s, earning a few sequels, and inspiring short-run TV spin-offs. It’s just that every time out, Scream had IKWYDLS beat. That still holds true today. Read More

post

Ari Aster’s ‘EDDINGTON’ Sloppily Relitigates Pandemic Woes

Covid denialism. Mask mandates. BLM protests. Ari Aster’s fourth feature revisits all the trials and tribulations of the 2020 pandemic, dragging us back to that societal fever dream while adopting a decidedly odd “both sides” stance to interrogate the existential mania of the era. The result is a film that tries to tackle a lot—most notably how partisan mainstream media, social platforms, and fringe sites funnel viewers into conspiratorial rabbit holes that deepen division and further otherize an already fraying left/right American divide—but ends up feeling more like the frazzled screed of someone who, frankly, had a really bad pandemic. Read More

post

‘SUPERMAN’ Makes CBMs Fun Again

It’s been a good long while since I’ve unequivocally enjoyed a comic book movie, but good readers, I’m pleased to report that Superman makes the genre fun again. It might just be the best comic book movie in years. The latest redux of the OG Man of Steel arrives as the inaugural entry in the new DCU, following the stutter-stepped saga of the DCEU and Henry Cavill’s brooding take on the character. It’s busy, cheesy, overstuffed — and I almost certainly will never watch it again (though that’s true of nearly every comic book movie these days, if not 90% of all movies) — but for a film tasked with both rebooting an iconic character and launching a new cinematic universe, James Gunn mostly pulls off the improbable. This movie flies. Read More

post

‘JURASSIC WORLD: REBIRTH’ Another Careless, Lumbering Corpse of IP Resurrection

If there’s one thing that defines Gareth Edwards as a director, it’s his knack for scale. The guy knows how to make things look and feel epic. But the only thing impressive about the scale in Jurassic World Rebirth is just how completely flat and lifeless it all feels. Across seven films, audiences have marveled at prehistoric monstrosities resurrected via ancient Dino DNA, stirring up all the usual ethical woulda, shoulda, coulda hand-wringing. “Just because you can doesn’t mean you should” has never felt more relevant, nor as exhaustingly humdrum as it does with Rebirth. And yet here we are, in the fourth new-era Jurassic World movie (seventh overall), with a film so devoid of purpose and personality that it feels like a supergroup doing a really expensive cover of someone else’s greatest hits album. Read More