Movie reviews of Jeffrey Rex Bertelsen

As a film, it feels too much like a generic international Bond flick to truly stand out. As always, Idris Elba’s central performance ensures that even though the material is merely lukewarm some scenes absolutely sizzle. Review

While Knock at the Cabin is somewhat of a step forward for M. Night Shyamalan when compared to both Glass and Old, I would not classify it as a return to form. Review

In spite of how modern the film is, Johnson and Merrick’s Missing ultimately doesn’t feel as fresh as the previous hits that have made this gimmicky modern genre so popular (including Searching). Review

Ryan Coogler caught lightning in a bottle with the sublime first Creed film, which I don’t think either of its sequels has gotten close to being as effective as. Review

Solid performances from Winston, Mackie, Russo, and, especially, Harbour help to make this unoriginal haunted house film work relatively well. Review

Dave Franco’s Somebody I Used to Know is not as funny as it thinks it is and it isn’t as original as you may have hoped it would be. But it features a solid cast doing good and charming work, as well as fallible, realistic characters. Review

It is a breathlessly paced sci-fi superhero epic in the style of a Saturday morning cartoon. As a film, its tonal balancing act owes a lot to both Rick and Morty and Star Wars, but it winds up not really coming anywhere close to the heights of either franchise. Review

Jennifer Lopez and Josh Duhamel are good fun in the lead roles, and they manage to function in both rom-com and action comedy scenes. The film makes a great case for those three stars, but that just isn’t enough. Some of the action is quite entertaining, but, ultimately, Jason Moore’s Shotgun Wedding is let down by the unfunny or overplayed jokes and the generic characters. Review

It oozes style and is so wildly impressive that it regularly made my jaw drop because of how inventive, deliberate, and playful Park’s visual storytelling is here. Review

With layered, intelligent, and darkly witty writing, The Banshees of Inisherin is not just arguably Martin McDonagh’s best film but also one of the very best films of 2022. Review

Whether or not it tells the true story, I’m not sure either, but it’s such a tragic and torturous portrait that it’s hard to really look at without feeling the pain that permeates it from minute one. Nevertheless, I think both the person Norma Jeane and the icon Marilyn Monroe deserve better than what this film ultimately is. Review

Once the film has hit on something, it just does the same thing over and over again until the film is over. It is repetitive, it is familiar, it lets its incredibly talented comedic cast down, and, eventually, you just get tired of it, as the film — at close to two hours — is just too long. Review

The film follows in the footsteps of other similar movies that look to the Lassie-formula for inspiration (it is relatively emotionally manipulative, as you might expect, but once Gonker is lost, you rarely see him), and you’ll probably forget about the film’s existence relatively quickly. But the sweet and kind messages at the heart of this story make it watchable. Review

An infectious joy, S. S. Rajamouli’s genre-fluid three-hour epic action musical bromance film is every bit as good as its word-of-mouth suggests. It is so charming, undeniably overwhelming, but also just pure movie magic. Review

This could have been a strong television series if it had been tweaked just a little, but as films, these are just too messy. Still, though, Bodil Jørgensen and, especially, Jesper Christensen are great in these fascinating but messy historical dramas about the German occupation of Denmark. Review

Santiago Mitre’s Argentina, 1985 is a really solid and entertaining courtroom drama with absorbing and heart-wrenching testimonies. Ricardo Darín is terrific in the central role, and I’d also like to highlight Laura Paredes and Peter Lanzan... Review

It is an incredible rise-and-fall story that you have to see to believe, but the documentary itself certainly is not as good or deep as the story it contains. Review

The Pale Blue Eye is an atmospheric period crime thriller that is well acted, with well-tuned performances from Christian Bale and Harry Melling, but its slow pace will be a stumbling block for some, the mystery is somewhat predictable, and the Holmes-Watson-esque connection between the main characters is not as well-realized as it ought to be, which makes their final scene together somewhat ineffective emotionally. Review

Mumbai Mafia: Police vs the Underworld is primarily a by-the-numbers documentary that chronicles how the pendulum swung back too much and made criminals of the law enforcement that had initially set out to merely rid the streets of a controlling and dangerous crime syndicate. Review

Small quibbles aside, I think Park Chan-wook’s first English-language feature film is an engrossing little mystery with all of the traits that have come to define Park Chan-wook as a master filmmaker with breathtaking visuals, violence, and taboo subject matter. Review

It’s an occasionally fascinating exercise that is a little bit too navel-gazey and bloated for its own good. Review

It is much showier than Sympathy for Mr. Vengeance especially and is a great example of Park’s visual slickness and inventiveness. It also features an excellent performance from Lee Young-ae. Review

Oldboy is Park Chan-wook fully unleashed. It is a showy and perfectly paced action-revenge mystery with an amazing payoff and masterful and precise shot compositions. Choi Min-sik is also just incredible in the primary role. ... Review

Park Chan-wook’s Sympathy for Mr. Vengeance is masterfully made but also exhaustingly bleak. Review