Movie reviews of Hope Madden

Though that film is no masterpiece, it digs into the idea that you cannot fight the power from within. This is where Wish misses the point. It’s trying to do something radical without upsetting anybody, and that’s just not possible. Review

Leo doesn’t reach the heights of YASNITMBM, but it aims higher than the others and frequently endears. Review

Francis Lawrence returns to direct, after helming all but the 2012 original. While his previous efforts balanced flash with action, the latest installment loses footing as it travels from one grim reality to another. Review

The filmmaker, working from a script by Samy Burch and Alex Menchanik, finds wry humor in the soap opera nature of the tale. It’s a morally ambiguous, gorgeously realized character study. It’s so good to have Todd Haynes back. Review

The story itself, with its plot twists and turns, is not as clever as it pretends to be. It is wryly funny, though, and often quite sweet. Review

The shots of bison carcasses make an impression – the photography throughout is impressive, but this sickening image is particularly something. Unfortunately, Polsky’s script and cast can’t quite match the visual clarity he gives the tale. Review

Mendelsohn is masterful, as is routinely the case. He brings an unnerving calm, a low key but committed sense that his way is the right way, the only way. His quietly impatient performance matches the films slow but deepening sense of unease. Review

The trajectory is rarely in doubt and the film leaves much to mine when it comes to its premise. But whatever the weaknesses of Fingernails, Ahmed and Buckley and their thrilling rapport more than overcome. Review

The film builds no momentum, most scenes cut short in favor of an emotional flashback, a contrived family moment, or a dream sequence that can’t conjure the eeriness needed to push the film into horror territory. Review

The Wheel of Heaven throws a lot at you and not all of it hits, but Badon’s instinct for the bizarre, humorous and horrific generate a wonderfully oddball effort. Review

Departing Seniors subverts every one-dimensional high school slasher cliché to deliver a startlingly empathetic and effecting thriller. Review

The film feels very much like a Dennis Paoli film and fans of his Gordon collaborations have reason to celebrate. But Suitable Flesh doesn’t entirely deliver on its promise of mayhem. It never quite leaps off that cliff the way Paoli films usually do and for that reason feels a tad tame. Review

There’s tension and some smart moments, although Night of the Hunted is still just another horror movie made by men in which the female lead has no purpose or value until she finds her maternal instinct. Review

And yet, for a wholesome (if you’re not offended by Satan), goofy good time, Onyx the Fortuitous and the Talisman of Souls is an excellent bit of fun. Review

Mami Wata is a spectacle of water and light. Raindrops on a forehead, seashells in a braid, sea spray as day turns to night – Obasi builds an otherworldly atmosphere from moments like these. Review

There’s nothing groundbreaking about 15 Cameras, but what it does, it does well. Review

In case Rugna’s 2017 treasure Terrified didn’t solidify his place among the greats working in the genre today, When Evil Lurks demands that recognition. Review

This is the strongest set of shorts in a V/H/S installment in a while. It’s fun, gory, creepy and bite sized – ideal for the season. Review

It’s not the reawakening it may want to be, but for fans of the franchise, it’s finally an installment worth watching. Review

Director Andy Palmer delivers a hodgepodge of moments from Eighties comedies, each one drawn out to a painful length. Molly Singer feels too traditionally staged, almost like a reimagining of Revenge of the Nerds, minus the homophobia and rape. Review

Harboe’s understated turn, particularly in a handful of breathtaking scenes, helps Rasmussen blisteringly articulate an everyday horror women face. Review

Dumb Money is a crowd pleaser, partly because the writing team keeps the script simple, and partly because Gillespie keeps the energy high. But mostly because it’s never not fun to see somebody stick it to the man. Review

The entire ensemble shines, but Bernal owns the screen, his ever present smile a heartbreaking and beautiful image of the resilience and determination that fueled an icon of wrestling and LGBTQ culture. Review

Elevator Game is in want of more imagination. Review