Movie reviews of Hope Madden

The World to Come measures suffering—particularly that done quietly and expectedly by women—against what pleasures can be stolen in this world. Review

The film never feels like a biopic. The rendering is far more crime thriller, and had this been a simple fictional account of a mole in a political organization, King’s film would have been riveting. Performances alone would have elevated the genre beats. Review

Instead, Guigui treats every scene as if no other scene has taken place. It doesn’t help that all of this tension non-building is in service of Knox’s character arc. Review

Her film treads the earth between mental illness and religious fervor, but its sights are on the horror of the broken hearted and lonesome. Review

Minari offers a close look—optimistic, but not sentimental—at the American Dream. If you feel like that’s been done to death, that just means you haven’t seen this movie yet. Review

Graham’s film possesses an artistry that can’t be denied, and it succeeds more than it fails. Review

Nothing ties together, and by the final scene’s reveal you feel like you’re watching the cliffhanger for an episodic series that you probably won’t commit to. Review

It’s a laudable goal. The problem may just be that Mary Shelley said it so much better. Review

But Ascher digs much deeper, drawing images of a culture and personality type compelled by these ideas, and the hard potential consequences of a Matrix in the hands of someone less noble than Neo. Review

It’s hard to call The Reckoning a wasted opportunity because, aside from some solid framing and cinematography, there’s nothing here to even exploit. It’s a superficial ripoff of a worn out genre, built entirely around a laughable performance. Review

It’s a gorgeous effort, poetic and somber and dreamlike. But it lacks a central voice, and without that, any real connection with the audience. Review

T doesn’t help that the color, period and low boil bring to mind two wildly superior Fincher efforts—Seven and, even more clearly, Zodiac. And however competently made (and it is) or impressively cast (obviously), The Little Things just can’t distinguish itself from the pack. Review

It’s a lopsidedness The Dig never quite recovers from. Of course, had Mulligan and Fiennes not shone quite so brightly, it may not have been a problem at all. Review

The Queen of Black Magic makes more narrative sense, but somehow that seems to flatten it out a little. It feels less magically horrific and unsettling as the films Anwar directs. But strong, dimensional performances elevate every scene. Review

Bahrani’s masterful direction makes the most of background to establish and reestablish Balram’s position and his thinking. And as utterly contemptuous as this film is concerning the wealthy and powerful, director and lead make you feel the depth and history involved in a servant’s culture of devotion. Review

Talent be damned, Guez can’t find an original thought to explore. Everything about Brothers by Blood feels absolutely garden variety, although competently made. Review

Oppenheim’s framing and David Bolen’s cinematography create an unforgettable visual experience, preparing you for a Wes Anderson meets John Waters documentary about rich old people synchronized swimming. Review

Debay’s transformation is also marked very obviously and very visually, underscoring the cartoonish nature of this particular enactment. She does a wonderful job of evolving from something in Act 1 that feels garden variety for horror into something surprising and fierce. Review

Cuffley doesn’t break a lot of new ground, but his is an appealing riff on a familiar tune. Review

With self-deprecating charm to burn, O’Toole creates a wrong-headed but hilarious and almost sweet tone that helps Grierson hold together a plot that throws a lot at you. Review

Bass’s script is too often superficial, creating moments for each star to shine, but those moments invariably feel unearned. Review

Shadow in the Cloud is a ludicrous, over-the-top action horror. It knows what it is and it delivers on its promises. Review

With sharp timing and a panda mask, Greenland perfectly represents Born Again: it’s so wrong, yet endearingly hilarious. Review

News of the World offers a simply hero’s journey, understated by Greengrass’s influence and Tom Hanks’s natural abilities. Review