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‘THE FLASH’ Speeds Past Expectations, Strikes Lightning in the DCEU

In a time- and universe-bending world where superheroes have become a constant fixture on our screens, their welcome wearing thinner by the appearance, The Flash emerges as a super enjoyable surprise. A “solo” venture that sees the DC Extended Universe taking their crack at the whole multiverse thing that has been so popularized in superhero films of the past “phase”, The Flash actually focuses on dynamic storytelling and character complexity to impressive results. Despite a runtime that confidently skates past the two and a half hour mark, director Andy Muschietti (Mama, It) and screenwriter Christina Hodson (Bumblebee, Birds of Prey) have crafted a tale that zips by in an exhilarating flash of character, nostalgia, and good old-fashion storytelling. Read More

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Chilling ‘THE BOOGEYMAN’ Rekindles Fear of the Dark

A family reeling from the sudden death of their wife and mother. A creature that feeds on grief and weakness. Crippling fear of the dark. These are well-worn horror movie tropes through and through but they are executed to impressive effect by filmmaker Rob Savage in his first traditional feature, The Boogeyman. Savage takes these overcooked conventions and tosses them in a wicked blender of terror and tension to make for a wicked fright fest that could well fling you out of your seat. Read More

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‘FAST X’ Accelerates the Tired Franchise Into a Wall of Absurdity

Death has been tamed in the realm of the Fast and the Furious, a universe where mortality is less of a concrete reality and more of a minor inconvenience. Explosions, vehicular disasters, bullets, and even cosmic escapades seem to have lost their lethal touch. Notably, Paul Walker’s Brian O’Conner, who we mourned back in 2013, has somehow cheated death’s finality to make posthumous cameos in four subsequent films. It’s an impressive work ethic that redefines the very essence of ‘life after death’. Why die when resurrection is but as plot contrivance away? Read More

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Kinky ‘Sanctuary’ an Intoxicating Two-Hander That Dominates Audience

It all starts in a hotel room. Hal (Christopher Abbott) orders room service and waits. Enter Rebecca (Margaret Qualley), a whip-smart dominatrix. Qualley, who you may remember from her standout performances in Maid and Once Upon a Time in Hollywood, first poses as a lawyer there to “gather information, verify it, and write up a report.” Although it’s all part of a CEO/powerbroker role play, meticulously scripted to the last detail, it’s actually not that far from the truth. This is Sanctuary, a kinky, mentalist dom-sub rom-com, and it’s the stage for Qualley and Abbott’s most intoxicating performances yet. Read More

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‘EVIL DEAD RISE’ Splatters the Screen, Breathing Fresh Blood into Lovingly Demented Franchise

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

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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

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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

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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

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‘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

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‘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