Movie reviews of Hope Madden

The cast boasts a lot of solid, wasted talent. Law continues to charm as the unflappable Dumbledore, Redmayne’s quirk tests patience, Dan Fogler’s a bright spot. No idea what’s to blame here, but these movies are not getting any better. Review

A couple of intriguing kills (or near-kills), a little loose-end tying, and a few laughs keep this one from disappearing completely from memory. The inspired lunacy of Roache-Turner’s original is gone, replaced with entertaining if forgettable fun. Review

The formidable veteran brings physical prowess and nuanced drama to the screen, as you might expect. She’s also really funny, but that wouldn’t be nearly enough to hold this manic experience together. Yeoh convinces while Evelyn arcs as no character has arced before. Review

That’s not to say Stolevski’s approach is a failure, only that it’s taken too far. His fractured storytelling suits his purposes of exploring gender identity and the nature of humanity. He builds dread well and his fluid camera allows his tale to cast a spell. Review

Nitram looks at how nature and nurture are to blame. Socialization plus parenting plus bad wiring is exacerbated by the isolation and loneliness they demand. Everyone is to blame. It’s a conundrum the film nails. Nitram looks at how nature and nurture are to blame. Socialization plus parenting plus bad wiring is exacerbated by the isolation and loneliness they demand. Everyone is to blame. It’s a conundrum the film nails. Review

Part comedy of manners, part home invasion thriller, Barbarians finds itself on uneven footing. Review

Gillian Jacobs, Fares Fares, Eddie Marsan and Kiefer Sutherland — all underused — do what they can to bring nuance to underwritten characters, but it’s not enough to salvage the film. Rather than elevate a bland picture, the performances feel wasted in this derivative and formulaic thriller. Review

There are some chuckles, especially when Pitt’s onscreen. Bullock and Tatum share enough chemistry, deliver physical comedy well enough, and generate enough charm between them to keep the breezy entertainment enjoyable. The Lost City offers pretty, lightweight fun, not unlike a romance novel. Review

Doupe leans toward listlessness as the central figure, essentially trying to be invisible until she can escape her adolescent hell. The performance style often works, but at times leaves the film wanting for a little charisma. Review

The story itself is very deliberately built, but the way scenes are stacked offers no sense of momentum or urgency. This meandering quality robs the film’s climax of some of its power. But Alice mainly overcomes this weakness by telling the truth about the power in knowing who you are. Review

Diallo struggles at times balancing allegory and horror story. On occasion, genre tropes become too obvious. At other times, the obviousness of political points overtakes cinematic narrative. But the underlying horror of reality ably depicted by Hall and a game cast make sure these minor issues remain minor. Review

Walker wades into dark comedy/satire territory for the first two acts, then abandons it entirely for a dusty, predictable, humorless finale. Review

Akritchalerm Kalayanamitr’s sound design heightens the experience, almost becoming a second character in the way that the sound supports Swinton’s performance. And what a performance. Quiet and precise as if always listening and careful not to disturb, Swinton once again disappears wholly into a role. Review

Not every performance is as strong and the film’s microbudget rears its head on more than one occasion. But Take Back the Night and its filmmakers deliver thrills and realizations in equal measure in a memorable feature debut. Review

In many respects, The Burning Sea is just another by-the-numbers disaster flick. But in dialing down the bombast, Anderson’s film creates a level of authenticity that’s much scarier. Review

A muddy backstory and slight anticlimax keep the film from utterly beguiling, but the coming-of-age center impresses. Hellbender delivers a moral ambiguity that questions society’s fear of female power. Review

This new Cyrano is another hit and miss for Wright, but Peter Dinklage retains his crown as the most endlessly fascinating and watchable actor on the screen. Review

Strawberry Mansion’s cynicism butts up against a wholesome romantic nature in one of many ways that the filmmakers’ form perfectly matches their purpose. Review

It’s a worthy message trapped in a sincere, tonally chaotic, humorless, lazily constructed mess of a movie. Dog has merit I did not expect going into it. I wish it was a better movie. Review

This same lack of clarity or commitment begins with Bull’s script, which builds slowly to an energetic if fizzling climax. For all it has going for it, A Banquet answers none of the questions it asks and leaves you wanting. Review

Is Marry Me an opportunistic music video/hit single/Valentine’s Day date bundle orchestrated by a savvy business mogul? It is. And it’s fine. Plus, if it goes well, maybe she’ll take on another really good character next time. Review

Alone with You feels a little bloated. But the mystery at work binds with a horrifying sense of familiarity to manufacture enough scares to keep you guessing. Review

Koreeda’s wistful film escapes all of that. Doona’s delicate performance brings heartbreaking tenderness to the existential dread underlying the story. Review

Not every performance is as strong, but Kipp’s ensemble finds nuance in characters that help the film compel more than just terror. Review