These are all the movies and series that Eric has reviewed. Read more at: The Movie Waffler.
Number of movie reviews: 2083 / 2083
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Zombi Child mixes up two movies to make one basic point, but there isn't quite enough meat on either subplot to sink your rotting teeth into. It's always watchable though, as Bonello is a skilled enough stylist for his moody visuals to make up for an absence of substance. Review
Yet while The King offers little new from a plot perspective, it does give us some fascinating period details that are usually overlooked by dramas of this ilk. Review
For all its vintage dressing, Joker is simply another pointless comic book origin story. Review
The film asks us to live in fear of its characters plummeting to their deaths for 100 minutes, but it's all too clear that Redmayne and Jones are in the comfort of a green screen studio. Perhaps the only way to really pull this off would be to cast Tom Cruise and simply send him up in an actual balloon. Review
The Day Shall Come opens with the tagline "Based on a hundred true stories", but by the time its 90 minutes of sub-HBO sitcom antics are up, any political points it intended to make have been largely lost amid a wave of forgettable one-liners. Review
If Samara Weaving is a genre to herself, Ready or Not is the weakest of the three horror movies she's thus far headlined, but as usual she's the best thing about the movie. Review
Don't Let Go boasts no thrills, no frills, no chills, but it may leave you a little green around the gills. Review
Thanks chiefly to Roger Deakins' cinematography, The Goldfinch is a well polished reproduction, but it's far from genuine. There's no life here. Review
If Rambo: Last Blood critiques American gung ho machismo, it also celebrates it in a climax that features levels of bloodshed not seen in a mainstream Hollywood movie since...well since the last Rambo movie. Review
If at its worst, Ad Astra is Tarkovsky for dummies, at its best it's a thrilling and thoughtful space adventure, one that features action set-pieces that are infinitely more exciting than anything found in the recent Star Wars films. Review
In her first ever screen appearance, Bjørkaas Thedin is commanding, her portrayal of a child forced to contend with the duties of adulthood truly affecting and heart-breaking. Review
The trouble with Hustlers is that while the strippers' victims are chiefly a collection of stereotypical stockmarket scuzzballs, the strippers aren't any better themselves. Review
Amping up the cheap laugh factor, It: Chapter Two often comes off like a parody of the first movie, the Scary Movie to the 2017 film's Scream. Review
Here Comes Hell certainly doesn't outstay its welcome, and the brief running time and its b-movie trappings make it a suitable candidate for the bottom half of your next Friday night horror double bill. Review
Personally, I was most struck by how tragic the nature of both relationships appeared. Review
If you're going to take this unique approach to repackaging a long dormant property, you really need to embrace the insanity of the idea, something The Banana Splits Movie never fully does. Review
Matthias Schoenaerts brings his well-honed strong, silent schtick to the role of Roman, an inmate 12 years into a long stretch for a crime left initially unmentioned. Review
Ultimately it's a heartfelt tribute to those who make it out the other side of toxic partnerships, and to those who succumb along the way. Review
If Critters began life as a cash-in on Gremlins (something original creator Herek has vehemently denied), perhaps it's fitting that the franchise will likely be killed off by this cheap nostalgic exploitation of its own brand. Review
Replace Hogg's Miller with a more believable villain and Pastoll's film might join the ranks of the great modern gritty thrillers. Review
What seems initially like a simple riff on the old Most Dangerous Game concept of humans hunting humans is gradually revealed to be something more complex... Review
What holds it all together is the interplay between the vampish Val and the klutzy but likeable Lou. Brayben and Roe share a cringey chemistry, the former's adorable sweetness a comic counterpoint to the latter's deadpan delivery. Review
Feedback's claustrophobic set-pieces are efficiently helmed, and along with cinematographer Ángel Iguácel, Alonso manages to keep a movie that is largely dialogue based visually interesting. Feedback boasts an intriguing premise, but its succession of head-scratching "why aren't the police kicking the doors in?" moments makes it impossible to invest in its defiantly daft narrative. Review
Despite spending so much time in their presence, and in spite of competent performances all around, none of the three leads ever really come off as anything more than archetypes. Review
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