Movie reviews of Hope Madden

More experimental in nature, at barely an hour, Side B is also more tedious. Review

Side A is the novel and impressive work. Review

There’s power here, especially in Seyfried’s raw performance. For all its flaws, A Mouthful of Air is a film you’ll be thinking about long after the credits roll. Review

It’s a standalone blast. But if you grew up on these movies, this film is like a bloody message of love for you. Review

Like any truly strong documentary, her film not only covers its topic comprehensively, it inspires you to dig deeper on your own time. Review

Leaosavai’I and Murnane have little but joy to share when they remember the ups and the downs. Regardless of the fact that the outline is the same as many an entertainment doc, the soul is as jubilant as the music. Review

Chances are strong that, between the intentionally flat performances and the supremely WTF plotline, The Scary of Sixty-First will not land with most audiences. But it’s a wild vision and I’m not sorry I caught it. Review

It’s nostalgic. It’s uproarious, dangerous, just-this-side-of-innocent fun. It’s a near-masterpiece. Review

The film looks good. It’s too long, but all of them are. (All of the Matrix films, or all films in general? Both.) The action doesn’t entirely live up to the originals, but how could it? Review

Though Selhami’s cinematic storytelling shows some weak spots, he and his creepy film are part of a movement expanding the look and language of horror, and that’s worthy of applause. Review

Not one memorable thing happens. Not one. But Sing 2 is light-hearted, good-natured fun while it lasts. Review

The theme is deeply and honestly felt, and that, too, is unnerving. Review

This film is gorgeous, in an almost Bergman manner. Hardly aesthetic for aesthetic’s sake, in true Coen fashion, every inch of screen is dedicated to a purpose. Review

Sorkin reins in his characteristic rat-a-tat-tat hyper-intellectual dialog just enough to let characters be human. Their on-screen personas meet their off-screen realities in a way that allows a firmly remarkable cast to deliver twice the goods. Review

C’mon C’mon wraps the messy, awkward, disappointing realities of being human in a blanket of hope. As cloying as that sounds, the film is so sincere it’s hard to deny its warmth. Review

The filmmaker and his game lead challenge expectations both in theme and in genre, and while their gamble doesn’t entirely pay off, it’s often riveting stuff. Review

If you’re longing for a film about women and the historical, hysterical afflictions they faced because they were women, but you really miss seeing these lessons from a leeringly male perspective, I have a hard time imagining a film that better suits your mood than Benedetta. Review

The FX are not as impressive as the performances, unfortunately, but the creature itself is creepy as hell. Review

Random scenes of exposition are wedged in periodically where none is needed, while other information remains weirdly—though sometimes intriguingly—vague. But certain scenes are brilliant, charged with emotion and brutality, and sometimes tenderness. Review

John Leguizamo and Maria Cecilia Botero join Beatriz in a voice cast that brims with pathos, love and energy, just like the family they depict. Review

Though the film is overlong and perhaps slightly too wrapped up in Weide himself, it warmly and bittersweetly answers one of life’s most relatable questions. Review

It is less poetic and self-indulgent than Tommaso or Siberia, less sensible than his earlier work, and less compelling than a lot of what he’s done. And the explosions look ridiculous. And yet, there is nothing quite like an Abel Ferrara film. Review

Not every performance is as strong, but West evokes such a poignant and dreamlike atmosphere that minor acting hiccups can be overlooked. Review

A meticulously crafted, deeply felt gem of a film. Review