Movie reviews of Hope Madden

It’s a ludicrous mess, but not quite ludicrous enough to make it fun. What could have been most enjoyable as insane winds up being mainly inane. Review

It’s a too-tidy end to a decent spook show—nothing especially scary or daring or original, but an atmospheric thriller that looks good and entertains. Review

Though they wisely narrow the story, beginning immediately before Harriet’s escape from a Maryland plantation and ending just after her astonishing Civil War battle, the film still feels a bit shallow in its telling. Review

Roy Cohn is dead, but as Where’s My Roy Cohn? makes dismayingly clear is that his ghost still haunts us. Review

Joachim Ronning shows moments of visual inspiration, splashing color across the screen one moment, forbiddingly grim grey tones the next, but the little magical creatures rarely suggest the CGI budget was spent very wisely. Review

His film would feel desperate to be socially relevant if it were not so incredibly lazy in just every conceivable way. Review

The story itself is a socially conscious drama brimming with despair and outrage. Review

Rose Byrne is one of the most reliable comic actors working today. Here she’s basically a jealous, controlling, psychotic Siri and her deadpan delivery is priceless. It’s just not enough to salvage the film. Review

The Addams Family is unlikely to charm longstanding fans and will likely bore young moviegoers. It might entertain a slim swath of tweens, but this family deserves better than that. Review

Mary feels simultaneously rushed and bloated. It’s a remarkable waste of both Mortimer and Oldman’s talent and the only true mystery—left unsolved, by the way—is how it drew these actors in the first place. Review

In another filmmaker’s hands, this jarring one-off nuttiness might seem contrived or off-putting, but not on Planet Miike. His profession may be shifting sand beneath some feet, but Takashi Miike flies wherever he wants to go. Review

The enormously likable cast and a tight script elevate the film above its slight story and often borrowed ideas. But the pace is quick, the bowels are spilling, and I’ve never enjoyed Taylor Swift’s Shake It Off more. Review

It’s a deep, immersive dive into how Alien evolved to become the masterpiece that it is and why the film remains as haunting today as it was when John Hurt’s chest first burst in 1979. Review

It’s a fascinating look at the function clowns have served since their medieval beginnings, as well as the internet’s way of amplifying folk tales. Review

The film makes more than a few convenient moves, but it packs a lot of surprises and showcases very solid performances. Review

There’s not a single performance in the film that isn’t a welcome surprise. And underneath it all, Dick Long reimagines small town masculinity, isolation and loneliness. Review

Rambo: Last Blood, on the other hand, is a MAGA fantasy come to vivid, bloody fruition. Weak. Review

Without the needed distraction of a Full On Cage, it’s tough not to notice the narrative inconsistencies, trite dialog, stupid character names. Review

Made sensibly and economically, Haunt sticks to what it knows and focuses on what it came to do. Gaps in logic are few. One or two of the kills offer intrigue and the villains are, if not especially impressive, at least kind of fun. Review

Though this ghost story with tiny dragons and stuffed tigers is darkly fanciful, it’s also surprisingly clear-eyed in its view of the toll the drug war takes on the innocent. It’s Latin American horror at its best. Review

Depraved does offer a glimmer of hope for mankind. Fessenden doesn’t revolutionize the genre or say anything new, though, but you won’t leave the film wishing Shelley’s beast would just stay dead. Review

Variety, laughs, mayhem, blood spatter, romance, cheerleader pot pie—Hellarious is a tasty treat of bite sized horror. Review

Reeder’s peculiar dialogue finds its ideal voice with Grace Smith as Joanna Kitzmiller, a jaded feminist and budding entrepreneur. Likewise, Marika Englehardt and Tim Hopper bring extraordinary nuance and sympathy to what could have been campy characters. Review

The manic comedy proves as infectious as the zombiism on the screen, and much of the reason is the committed cast. Ueda allows each performer the opportunity to grow and discover, and every actor at one point or another takes full advantage of his or her moment to shine. Review