Movie reviews of Hope Madden

Skull: The Mask is a pretty dumb movie. Hell, even the title is dumb. But it knows where to invest its energy and money, and you cannot say it skimps on the goods. Review

Some sharp-eyed and logical, some eaten with guilt, some cagey, some still fully committed to the cause, Holland’s subjects run the gamut. Their testimony is haunting, not just because of the specifics being remembered. Review

Performances are fine, production values solid. There’s nothing embarrassing here, just nothing to get excited about. Review

The whole mess could have been mindless and merry were it not for its bloated running time. (Self-indulgence, thy name is Snyder.) It still delivers the goods here and there, but it won’t stick with you. Review

The ensemble works wonders together, each hitting the comedic beats in Kostanski’s script hard enough that the goretastic conclusion feels downright cheery. Review

It isn’t clever, it isn’t fun, it isn’t gory, it isn’t scary. It isn’t necessary. Review

Plenty of tense moments and creepy images punctuate the heartbreaking, age-old cautionary tale about getting what you wish for. Review

Performances are strong and locations are gorgeous, but Those Who Wish Me Dead doesn’t take a lot of risks and that’s unfortunate. Review

Though one or two of the predicaments that befall the pair feel contrived simply to lengthen the film to feature-length, on the whole, Goodbye Honey delivers a tight set of smart thrills. Review

A mean spirit punctuates the romplike atmosphere a couple of times and feels wildly out of step with the balance of the film, but other than that, Benny Loves You offers forgettable, bloody fun. Review

It’s a heist movie without the meticulous execution, a vengeance thriller with no emotional connection to the villain, a Statham movie with no ass kicking, and a Ritchie movie with no humor, no flash, no style. No thank you. Review

Calahan also develops a fun dose of dread as midnight nears and tales—both present and past—take sinister turns. It’s all good fun, though, right? Just a couple of guys passing the time until debts are to be paid. Review

Above Suspicion can’t help but feel like a couple hours of wallowing in someone else’s pain. Review

It isn’t as if the actor performs alone. He stumbles into and upon a slew of wild, weird and sometimes insane (literally) characters. But it’s Green you cannot take your eyes off of. Review

Abbie Cornish does try, bringing a flash of human interest as The Waitress. But no amount of homespun charm can save a movie this dumb. Review

It’s not that Tom Clancy’s Without Remorse is a terrible movie. It isn’t. But there’s no excuse for it to be utterly mediocre, which it is. Review

There are other storyline missteps, as well, but The Outside Story is so refreshingly uncynical, so huggable, and often so funny that those misses are easily forgiven. Review

Molly’s defenses and manipulations blend together so believably that when she does hit a note of emotional depth and sincerity, it’s heartbreaking. Close’s performance is no less commendable, though her character is frustrating. Review

Because Mortal Kombat is a big, dumb movie. So big and so dumb. And so much gory stupid fun, I just might watch it again. Review

Boys from County Hell is a horror/comedy, but it’s rarely laugh-out-loud funny. It’s actually a good deal more tender in its own endearingly bull-headed way, with a narrative more focused on the father/son dynamic than on coming of age or bloodshed. Review

For longtime Wheatley fans, In the Earth feels like a return to form – or at least a step in that direction. It delivers a couple of good wallops, too. It’s no Kill List, though. Review

The Banishing looks and feels unlike anything else Christopher Smith’s done. Too bad it feels so much like what everyone else has. Review

Science fiction tends to be heavily allegorical and heavily borrowed—Voyagers is certainly both of these. Although the execution feels a bit like a neutered version of Claire Denis’s brilliant 2018 cosmic horror High Life, the story itself looks to the distant future to illustrate our present (and very, very recent past). Review

Faviere’s take on the situation is even-handed. She never stoops to melodrama, never paints Lyz as a faultless innocent. The character’s complexities, particularly given Abita’s assured performance, only ensure that the film leaves more of a mark. Review