Movie reviews of Hope Madden

What a refreshing film Moving On is. Not a great film, but a genuine piece of entertainment made for actors who deserve a project like this. Review

There are interesting themes here concerning patriarchy and “Christianity”, but Herron doesn’t belabor the point. His film is rarely showy, and even at its most obvious this light touch keeps it engaging. Review

It’s not without its charm. Meaney and his crew turn in excellent performances and generate some honest laughs. But the film itself is a mess. Review

Unseen is an angry film. Okumura’s is an angry voice, but it finds comfort and salvation in community. The film takes aim at casual racism, gaslighting and toxic white privilege but never lets anger overshadow her central relationship. Review

There are a few laugh-out-loud moments, and some scenes that push the film toward parody, although Ritchie and crew cannot land on a tone. Everything feels more like a brainstorming session than a finished film. Review

Not every animal lover is going to appreciate the comedy in this film, FYI. An enormous black bear is high out of her mind for 90 minutes and, in that deranged state, does some funny things but mostly tears humans to pieces to the delight of the crowd. If this doesn’t sound entertaining to you, maybe don’t see Cocaine Bear. Review

Nocebo doesn’t pack the punch it intends to, the point-of-view sleight of hand limiting the impact. It’s not the body horror promised by the catalyst, either. Instead, it’s a muddled if well-performed tale that leans heavily on an idea that needs to die. Review

O’Connor breathes life with all its chaos, misery and joy into the Brontës’ 19th century. Emily feels less like the vision of a newcomer than the product of a passionate kindred spirit. Review

His film is a profoundly uncomfortable, deeply disturbing, unsettlingly humorous freakshow that must be seen to be believed. Review

But any intentional humor is woefully absent. Whatever the film’s many – almost countless – flaws, Frake-Waterfield deserves tremendous credit for seeing an opportunity and seizing it. Review

Solián’s performance weaves effortlessly and authentically from one family dynamic to the next, each presenting only opportunities to submit, to accept or to be ostracized and rejected. Huesera’s metaphor is brave and timely. Review

This is a film that deeply appreciates a filmmaker who rarely received such love. The conversations are candid and often moving. The film leans a little too close to mash note, but there is something undeniable in the work of Jean Rollin that probably deserves this kind of love. Review

The scenery is gorgeous and there is an interesting time/space twist that’s a bit of good fun. But it’s not quite enough to salvage a tired idea told with pretty images and little enthusiasm. Review

Attachment delivers slow-burn horror that repays close attention but never falls to gimmickry. Yes, the situation is absurd, but everyone behaves in a way that is rooted in real-world expectations and experiences. Review

The writing here is crisp and urgent and Strathairn delivers it beautifully. There’s nothing showy in his performance, and the unassuming delivery often lands harder than it would have with more drama. Review

All the performances are solid. Monaghan and June B. Wilde spar beautifully with each other. Meanwhile, Skeet Ulrich (nice to see you!) and young Skylar Morgan Jones fill out the problematic family well. They just won’t help you remember the movie. Review

It does not pack the visceral punch of 2020’s Possessor, but it is a satisfyingly surreal piece of class warfare and an outstanding way for the genre to kick off 2023. Review

Maybe I Do is unabashedly romantic, deeply traditional, well-meaning and tired. So tired. But at least you get to see four tremendous actors riff off each other for 90 minutes. Review

Where The Father was a transcendent experience that dared to ask viewers to see as a man with Alzheimer’s sees, The Son takes no such daring leap. Its insights are stale, its twists manipulative. The film delivers a classy melodrama, but nothing more. Review

I appreciate the way Benjamin dwells in that fun-and-games space where adults do childish things, where dangerous behavior can masquerade as playfulness. She draws you into a supernatural world that feels whisper close to reality. Review

Legions is a fantasy about regaining the respect of your adult children, and because of that, it’s both relatable and touching. Review

Skolimowski pieces these images together in ways to suggest constant peril as well as beauty. It’s an emotionally exhausting journey, equal parts wonder and pessimism, and it is absolutely unlike any other movie with a dachshund or donkey. It’s unlike any other movie, period. Review

Candy Land is a tough film to recommend for a number of reasons, but it’s worthwhile viewing if only because Swab upends every expectation, instead taking us inside a horror grounded in something surprisingly human. Review

The film sees power as freedom and acknowledges how little of it there is for women, even women who seem to have it all. In the end, it’s the film’s and Krieps’s humanity ­that make the final moment of freedom feel earned and victorious rather than fraught with compromise. Review