Movie reviews of Hope Madden

Pareja’s depiction of David’s gradual decline unsettles. Martín rushes nothing, and though he leaves breadcrumbs, you’ll never know for sure where he’s leading you. The result is a somber, unnervingly realistic punch to the gut and a reminder that friendship does not have to be forever. Review

The film does an about-face at nearly its halfway mark, not only changing from Bruce’s perspective to Meredith’s, but evolving from straightforward narrative to something hallucinatory and fascinating. Review

The Fabelmans is no Jaws, no Raiders of the Lost Ark or E.T. But it’s an exceptional movie about how those other movies could have ever happened. If you’ve watched Spielberg’s movies – his early masterpieces, in particular – you can feel the weight of his parents’ divorce. Review

Bones and All is a tough one to categorize. I suppose it’s a horror film, a romance, and a road picture – not three labels you often find on the same movie. In Guadagnino’s hands, it’s more than that, though. He embraces the strength of the solid YA theme that you have to be who you are, no matter how ugly the world may tell you that is. Review

The film’s greatest weakness is its final act, which is enjoyable but unsatisfying. Still, the entertaining Blood Relatives delivers a savvy family comedy. Review

The animation itself is breathtaking, and perfectly suited to the content, as if we’ve caught an artist in the act of giving his all to bring his creation to life. Everything about the film is so tenderly del Toro, whose work mingles wonder with melancholy, historical insight with childlike playfulness as no other’s does. Review

It’s fine. It doesn’t take advantage of its potential, doesn’t even take advantage of its impressive cast. It’s a pretty slog through missed opportunities and aging odes that reflects Giselle’s angst: wasn’t there supposed to be something better than this? Review

Creature design is sometimes inspired, sometimes a little weak, but Innuksuk embraces these limitations. Production value is high, even when the images and performances on the screen seem a bit amateurish. Somehow the two fit together in this world at the edge of the world... Review

The film clips she chooses are often spot on, sometimes head-scratchers. But more troubling is an over-reliance on her own footage. The arguments she raises are necessary, though. Review

Le Gallo’s first feature delivers grace and goodwill in ways that are genuinely uncommon. It doesn’t tell a big story, but the story it tells resonates. Yes, he lucked into a dream cast, but they may have been luckier still to have him. Review

My Father’s Dragon represents a new direction for the animation studio. While it’s not the unassailable success of their previous films, it’s a joyous, beautiful film. Review

Though the loose narrative may frustrate some, as a work of remembrance, Wells’ first feature film delivers something powerful and powerfully impressive. Review

Mandrake never falls back on one-dimensionality. Characters are messy. They do the wrong thing, then the right thing, behave monstrously and also with kindness. Review

Both sound design and practical FX complete that picture. Yes, the ideas and even some images are pulled from other films, but the final concoction is utterly Anwar. Review

The Banshees of Inisherin mines a kind of pain uncommon on a big screen. In Martin McDonaugh fashion, the mining is done with wit, insight, humanity and absolutely world-class acting. It must not be missed. Review

Prey for the Devil suffers from lack of imagination. If you’ve seen one crab walk you’ve seen them all, and Stamm doesn’t deliver a single unique moment of horror in 93 minutes. Review

It loses momentum more than once, mainly because of its fragmented structure, but it also consistently surprises and never loses its way. Review

As with every V/H/S installment – and most short film anthologies, generally – the film hits and misses. None of the segments will stay with you the way Okuno’s Storm Drain from ’94 did. Hail Ratma! Still, it’s a quick, fun Halloween diversion. Review

Alas, turns out this was just a ludicrous highlight in an otherwise unremarkable rehash of superior films. Review

Rosaline recognizes this and makes light entertainment of it all. Dever is more than strong enough to carry the comedy. Her heroine offers stubbornly wrong-headed reasons for resilience and it’s hard to root against her. There’s nothing profound here, but it’s a breezy bit of fun. Review

Lange’s film boasts no real scares, not a single surprise, little dread. It’s a bland if attractive facsimile of other films we’re already kind of tired of. Review

It is nice to be reminded, however artfully, of the legacy of witchcraft: the powerful tormenting and in many cases torching the powerless. Colbert shows us how lovely revenge can look when those women have a little power. Review

There are some inventive kills, gore aplenty, and loads of reminders of why Argento has developed such a boisterous following. This is by no means his best film, but it’s by no means his worst, either. Review

Piggy is a tough watch, there’s no doubt. It’s also a ferocious and stunning piece of horror cinema. Review