These are all the movies and series that Alex has reviewed. Read more at: CineFiles Movie Reviews.
Number of movie reviews: 685 / 685
Years
Its grainy aesthetic, oppressive score, and vitriolic performances help to trap us within this weed, binding us to the experience of what is easily one of the tensest films of 2019. Review
Although, it is not merely the case that Hooper’s Cats is a visual effects experiment gone wrong in what would otherwise be an acceptable musical adaptation. It is not particularly pleasant to listen to, either. Review
There is something to hold onto here, especially if you have been a fan of the new Star Wars trilogy. The climax of this trilogy has emotional resonance. Not to mention that the normative Star Wars staples, embedded in the sound design and score of this franchise, are Pavlovian in their satisfaction. But it is hard to ignore that this is perhaps the least cohesive Star Wars film ever made. Review
A Beautiful Day in the Neighborhood is a biopic that tows the line between the conventional and the unique. It hits the expected emotional appeals where it counts without being cloying. Review
You may have to be patient with the languid pace at which it moves, but you will be rewarded for doing so. Review
Problem is, it takes too long to get to these moments. The narrative loses itself in the politics of corporations and in the superficial conversations about the art of the race. The beating heart of Ford v Ferrari is in its climactic final act, which is then let down by the abrupt emotional appeals of the denouement. But, if only for a moment, the film pushes to 7,000 RPMs. Review
It may not be the worst attempt at a heavily-plotted investigative drama—the actual investigation plot is compelling, it just isn’t focused. Review
The Gallows Act II looks bad, it sounds bad, and its narrative is conventional at best. Review
Smith is giving it his all. Lee’s ambition to redefine digital cinema is certainly worth rallying behind, and his action sequences are visually immersive enough to match his technological goals. But the story is thin and superficial, ultimately not holding the weight of this ambitious production. Review
It follows such a stark, Scorsese-esque display of violence that it is an empty gesture. It is a creative flourish without any soul. Review
We get characters which are sympathetic with ease, and we get a story which is thoroughly compelling until the very last frame. Review
It may be cliched to refer to beautiful-looking films with the phrase “every frame is a painting,” but in the case of Robert Eggers’ latest, The Lighthouse, many of the shots are picturesque. Review
The Platform is an entertaining, grisly genre picture, but it doesn’t fully escape from its own puzzle box. Review
Maddin’s use of old aesthetics is motivated in some way. Here it feels like a gimmicky choice that hides the inconsistencies in the film’s construction. Review
Long story short: VHYes is a hilarious, delirious ride through a 1980s broadcast hellscape littered with incongruities and tonally pitch perfect comic delivery. Review
The performances are engaging. The Vast of Night is a stellar debut for Patterson, and it is a fun, low-key science fiction film. Review
After Midnight is a film with valiant aims but a stumbling execution. Review
For fans of the sport, there will certainly be kernels throughout that make the film worth investing in. For the uninitiated, there is some perspective given to the many layers involved with the profession. But it doesn’t go deep enough in either direction of its narrative focuses—Ian’s personal life and the professional life. Review
Night Has Come has some poetic and cinematic import. The integration of archival film begs to be studied further. But even at 56 minutes it feels too lengthy. Review
It blends tones with a deft directorial hand, and it never stops being entertaining. Review
The heartwarming message is not lost on me; it resonates to a degree where the ending is emotionally satisfying. And the comedy shines through in enough moments. It just lacks the unification of tone, a hurdle that if cleared could have propelled Jojo Rabbit into the more rarefied realm of satire that it is shooting for. Review
Amigo may not have the perfect execution of its narrative, but Oscar Martin has an aesthetic sense that is extremely promising. Review
What stays with you at the end of the film may be a small combination of these aspects or a certain combination of scenes, but these pieces add up to an enriched whole that is bursting at the seams with the spirited life of humanity. Review
If it is a funhouse you’re looking for, then It: Chapter Two may excite just as much as its predecessor. Muschietti clearly cares about how scenes are crafted and blend into an experience of bumps and jumps. But even the jump scares are bland. The imagery is less gripping. And you won’t be presented with much more than this mechanical funhouse. Review
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