Movie reviews of Hope Madden

The images won’t disappoint, but they won’t make your jaw drop, either. Instead, Klaus relies on the perfect blend of sentimentality and wit to delight children and entertain their parents. Review

What the filmmakers encapsulate about humanity, culture and the future of labor is equal parts enthralling and frightening. Review

The only real problem with Bliss is its lack of originality, but that’s a pretty big problem. Quick cuts and quicker tempo, nimble performances and concussive beat, like Gaspar Noe’s Climax, Bliss leaves you feeling worn out. But with little new to say, it mainly leaves you feeling more hung over than entertained. Review

A devastating social commentary masquerading quite convincingly as an intense cop drama, I’d say Les Miserables would do Hugo proud. The truth is, it would probably break his heart. Review

Clemency gives Hodge the opportunity to shine and he grabs it, conveying a tumult of raw feelings that will leave you heartbroken. Review

Kovgan’s respect for the work as well as the life of her subject is clear and she’s captured much of that spirit. Review

The film lacks the vibrant subversiveness of Mom and Dad and comes nowhere near the insane vision of Mandy, so Cage fans might be only mildly impressed. Lovecraft fans, though, have reason to be excited. Review

The film breaks through as not only an admirable artistic vision produced with integrity, but a beautiful human tale of perseverance and love. Review

An urgent portrait of a system in collapse, Midnight Family also uncovers one family’s raft of hope amid an ocean of desperation. Review

Is Bad Boys for Life ludicrous? Oh, hell yes. Luckily its casual sexism and jingoism are offset by its refreshing pro-violence stance. Review

Stewart gets to try on the action hero role, and she’s not too bad. For a 95 minute sea monster movie, neither is Underwater. It’s not too good, either, but at least there are no sparkly vampires. Review

Three Christs misses more opportunities than it grabs, which is unfortunate because both Dinklage and especially Goggins deliver performances worth seeing. Review

Jump scares are telegraphed, CGI and practical effects are unimpressive, editing is uninspired and, worst of all, the sound design lacks any of that goosebump-inducing inspiration Shimizu used to such great effect. Review

The film is more charming than outright funny, relying on its leads’ natural charisma and fun chemistry, but it does offer more than a handful of chuckles. Review

In all, this remarkable filmmaker and her enviable cast make this retelling maybe the most necessary version yet. Review

Wisely, Roach and team don’t get swept away by the bracing change and empowerment of victory. Indeed, Bombshell’s final act is a smack I still feel. But its power is its honesty. Review

The plot ends up killing Black Christmas, which is too bad. Takal threads some audacious take downs of bro culture throughout a film with a lot of insight. It’s just not a very good movie. Review

The corruption hangs from this family like a mink stole, and The Kingmaker doesn’t deliver the same empathetic shock value to be found in Greenfield’s 2012 doc The Queen of Versailles. Review

The Two Popes is hard to resist. In the end – especially at the end – the film is almost criminally charming. Review

Not a frame, not a glance, not a bizarre line of dialog is wasted or misplaced in a bold vision that’s stylized nearly to death. In a good way. Strickland’s audacious anti-consumerism fantasy must be seen to be believed. Review

Even so, Daniel Isn’t Real is an Olympic-sized leap forward from Mortimer’s previous feature, Some Kind of Hate, the director here showcasing an unpredicted visual flair and storytelling finesse. Though his film treads some well-worn ground, the way Mortimer and team balance the supernatural and psychological push and pull creates an unnerving atmosphere. Review

Like Schults’s first film Krisha, Waves is embroiled in family issues as well as addiction, though this time the issues and the sociological context concern American blackness—questionable territory for a white filmmaker, even one as irrefutably talented as Schults. Perhaps thanks mainly to remarkable performances by Brown, Russell and especially Harrison, Waves rings mainly true. Review

He can’t entirely break free, though, and Dark Waters in the end—however stirring, informative and timely the tale—feels far too safe to be a Todd Haynes film. Review

In what is essentially a one man show, Christopher Rygh delivers a quiet, brooding performance for a quiet, brooding film. He cuts an impressive figure as the Vikingesque warrior at the center of this adventure and his work speaks of joyless endurance. Review