Movie reviews of Hope Madden

Aside from a couple of utterly priceless Dupieux flourishes, it’s Dujardin that sells this film. He’s deeply committed to the wildly wrong-headed internal logic of the film and the character. Review

There’s far too much borrowed and rehashed between Acts 1 and 3 for it to stand the test of time alone, but The Wretched delivers enough to entertain and to leave you interested in what’s next for the Pierce brothers. Review

Performances are not always exceptional, and you would not call this a feminist effort, but the underlying wry, weary wit separates the film from anything else like it. Review

Still, there’s low-rent garbage fun to be had with this. Everything about it could have been better, but like most guilty pleasures, it appeals in a sugar high kind of way. Review

With a spare script, visual wonder and energy to burn, Why Don’t You Just Die! promises to snatch your attention like a duffle bag of cash and hang on until exactly enough blood is spilled. Review

Moretti's instincts as a storyteller supersede, even complement, his disregard for the standard practice of documentary. The result is a slice of global, political, human life that bristles with passion and indignation. Review

Popov’s instinct for visual storytelling is again the most compelling argument for the film. Review

The film is equally fascinating whether it’s digging into grand ideas or sitting in a sidewalk lawn chair chit chatting about the nastier, day-to-day consequences of gentrification. Review

There’s just not a lot to see here. Pretty girls. Terrible music. Worse clothes. Religious zealots. Backwards thinking. Review

It’s sweet and charming in a low key, comfortable way, but it is hardly a thrill ride. Review

Szumowska strings together a dreamlike series of visions that horrify on a primal level, the imagery giving the film the feel of gruesome poetry more than narrative. Review

Though the strength of the cultural context sometimes undercuts the spookiness of the ghost story being told, Under the Shadow builds a strong case for itself as a horror film. Review

Not only is that an unusual topic for horror, it’s delivered with the kind of touching restraint that’s almost inconceivable in this genre. Review

Run-ins with other survivors, both the good and the bad kind, are played in Carriers with a real mixture of terror and sympathy. It’s one of the many reasons that the film delivers a harder emotional punch than you might be expecting. Review

The Hunt is a darkly comedic, socially savvy, equal opportunity skewering and it is a blast. Review

Rather than a reimagining of Peter Pan, Wendy feels like a misguided reworking of Beasts of the Southern Wild, which did not need tampering of any kind. Review

The film’s affable absurdity suits Forte and Ward makes a sweetly ideal foil for Higgins. Extra Ordinary casts a silly spell that leaves you smiling. Review

For raw, sloppy honesty, you’re not likely to find a better candidate. Review

The filmmaker’s vision and imagery come full circle with a bold conclusion worthy of Bennett’s performance. Review

It garners an amused chuckle or too, maybe even a sniffle, but you’ll be hard pressed to remember anything about it besides those unicorns, and there was no real point to those. Review

Portrait of a Lady on Fire is breathtakingly gorgeous. But, like Heloise’s portrait in the film, that’s not enough to make it a masterpiece. It’s the authenticity to the intimacy—perhaps partly born of the fact that Haenel and Sciamma are a real life couple—that’s inescapable, and it drives the piece. Review

It’s a film that doesn’t want to give up on small town, low rent, hard work. But it’s also a film that’s bracingly clear-eyed about the reality that balances that optimism. The result is a memorably quiet eulogy. Review

Disappearance at Clifton Hill is not a flawless film, but it is deceptively competent. It’s fun and clever. Middleton’s clear eyed yet delusional Nancy Drew never ceases to be appealing. Review

While there’s not a lot to like about Stacey Menear’s script, the problem here—as with his 2016 effort that began this whole killer plaything saga—feels more like poor direction. Review