Movie reviews of Hope Madden

Wonderful performances throughout elevate story tropes that could get old, and the filmmaker’s instincts for using light, shadow and reflection give the film an eerie quality that’s hard to shake. Review

Funny Face, though, marks a step toward something more stylish. The film has a retro vibe, like a long-lost Seventies indie set in Brooklyn. Given the of-the-moment storyline, this offers his film the timeless quality of a fairy tale—a theme he develops with imagery of equal parts urban realism and magical whimsy. Review

It’s not enough to ruin the effort, but it’s enough to keep Six Minutes to Midnight from leaving a lasting impression. Review

Not everything lives up to that first shock, but the next 80ish minutes of Making Monsters are worth a watch. Review

Regardless of the fact that you’ve seen this exact movie a dozen times, you just don’t expect it. It’s great! Review

Powerful, inflammatory, sexually explicit and unmistakably challenging, the work itself looms large in the documentary as if to ensure that it reaches out to as many as possible who forgot, never knew, or may have been kept from it. Review

There is nothing wrong with The Courier. It’s well made and informative. Which is to say, it’s kind of a waste of a great cast and an even better story. Review

Sehar Bhojani steals every scene as the cynical Shruti, but the jeans are the real stars here. Kephart finds endlessly entertaining ways to sic them on unsuspecting wearers. Review

Come True leaves you feeling massively let down, which is truly unfortunate after so much investment in a world this well built. Review

There is a perfectly middle-of-the-road romantic dramedy here somewhere. You may enjoy it, assuming you can get past the tangle of convenient plot twists and you don’t wince at the device of an autistic character teaching the real lessons. Review

It’s a powerful look at generational, religious and cultural fractures. It’s a beautifully written and executed reworking of an all-time classic. Review

They’re weird. They’re delightfully unpredictable. They’d grow tiresome, but they’re all so short. Review

Son does boast solid performances, and the filmmaker once again flexes his strong instincts for unsettling locations and atmospheres. The writing, pacing, and imagery all work together as they should to generate anxiety and dread. Son gets gory now and again, too. Review

It’s an often fascinating deconstruction of a particular subgenre of horror, an approach that usually benefits from the verité style. But too much of the loose narrative feels like filler. We watch Katie buckle her seat belt no fewer than five times. Review

The story, by Brigsby Bear writer Kevin Costello, is over-stuffed and under-enjoyable. He mistakes idiocy for lunacy, busy for kinetic. A lot happens, none of it interesting, none of it funny, all of it surrounded by a bombastic soundtrack. Review

Cherry clocks in at a hefty 2:20 and it feels for all the world like the Russos and their writers simply didn’t know how or where to cut Walker’s story down. The movie lacks focus. Review

It’s a solid effort, one that reframes a story you’re used to in a way that gives it more depth and emotional power. Review

A trimmer runtime might have helped the film leave more of a mark. Instead, Wrong Turn is a decent if unremarkable backwoods thriller. Review

It’s a solid if flawed poem, an ode to the apex predator. Review

Choir Girl asks ugly questions and gets ugly as it looks for answers. At times, the story feels dependent on too many contrivances. Review

McDormand is perhaps the only perennial Oscar contender who could fit so seamlessly in this tapestry. Without an ounce of vanity or artifice, her performance allows this film to be one of resilience and promise. Given that Normadland is, in fact, the story of a penniless Sixtysomething widow who lives in a van, that is in itself a minor miracle. But that’s the film—a minor miracle. Review

Watching Shook, you’ll find solid filmmaking followed by two acts of uninspired, sometimes idiotic, sometimes enjoyable horror. Review

The World to Come measures suffering—particularly that done quietly and expectedly by women—against what pleasures can be stolen in this world. Review

The film never feels like a biopic. The rendering is far more crime thriller, and had this been a simple fictional account of a mole in a political organization, King’s film would have been riveting. Performances alone would have elevated the genre beats. Review