Movie reviews of Hope Madden

This is a tight script, perhaps too tidy and structurally familiar because its most satisfying moments are its messiest. But it is a fascinating and fresh look at something we’ve been conditioned to turn away from. Review

But it’s not bad. Your kids might like it. They won’t likely remember it, but they won’t hate it. It’s perfectly safe. Review

Vengeance Most Fowl is a comforting, comfortable adventure, but it breaks no new ground and leaves less of an impression than you might hope. Review

The End is a bold, admirable film that’s sometimes too obvious, a bit too long, and a tad gimmicky to meet its aspirations. Review

After a fun, bloody prologue, Act 1 plods along with scene after scene of exposition. In Act 2, we get to see a lot more exposition, a bit more action, but at least the seriously fine ensemble is able to carve out some weird, fun characters. It’s not really worth waiting for the Act 3 payoff... Review

Oh, Canada lacks the cohesion of story and the poignant irreversibility that Schrader’s best films boast. Review

Eggers’s script fills in narrative gaps with a backstory that diverts from any previous tellings, enriching characters with a ripe darkness that influences the entire fable. Review

There is something in Queer that is beautiful, provocative, unsettling and unpleasant—all adjectives easily at home within the Burroughs atmosphere. It’s not a terrible way to spend an evening, but it’s not entirely satisfying, either. Review

It doesn’t make for as compelling a film, but The Man in the White Van has its charm. Review

If the problems are only for the wealthy, the solutions are equally out of reach for most audiences. Which makes it hard to root for Mother, no matter how truly (and characteristically) excellent Adams is. Review

That Zilbalodis crafted such gorgeously animated scenes entirely with an open-source platform to keep budget in check is indie genius that would be only a gimmick were his storytelling instincts less stellar. Review

There’s lots of gunplay, along with some car explosions and werewolf fist fights—paw fights? It’s ridiculous fun. Review

This year’s holiday offering is a charmer, and its understated humor and wry observations help to keep it engaging regardless of your age. But that’s not enough for That Christmas to transcend the glut of Christmas fare this year (and every year) to become an annual tradition. Review

The island population and all they’re planning feels a bit undercooked and the red herring is forgettable, but the core cast is having enough fun to keep the film upbeat and entertaining. Review

Nutcrackers mainly feels like an experiment. David Gordon Green takes a familiar Christmas family film script and sees if he can make something real out of it. He doesn’t always succeed, but he does deliver a charming mixed bag of nuts. Review

Moana 2 won’t bore anyone looking for a colorful time waster this holiday season. You’re just not likely to remember it into January. Review

Gladiator II delivers an often exhilarating, mainly gorgeous spectacle populated by enigmatic characters performed admirably. It does not live up to Gladiator. But what could? Review

Rita, though it barely qualifies as true horror, is a tough watch, especially because it is based on true events. It’s moving and debilitating at the same time, but it’s a beautiful and powerful work. Review

The film splashes vibrantly colored innards across the scene with abandon and delivers a message we can all get behind. This gooey mess may just be the healing balm we need right now. Review

Bird, represents something closer to magical realism than anything she’s done previously, but her generous nature with characters and her impeccable casting are present, as always. Review

Eisenberg’s work as a filmmaker here is very sharp, never taking the cheap shot. Both characters are held to account, but there’s a generosity of spirit in the film that’s equally forgiving. The result is a poignant treasure. Review

It’s ingenious, moving, hilarious and required viewing. Review

The full picture is one of hope in art, of power in challenging institutions, and of women demanding freedom. Review

Like nearly everything the filmmaker has made in the last two decades (at least), Here feels hollow and slight, an experiment in technological execution rather than artistic experimentation. Review