These are all the movies and series that Hope has reviewed. Read more at: Maddwolf.
Number of movie reviews: 970 / 970
Years
All the performances are solid. Monaghan and June B. Wilde spar beautifully with each other. Meanwhile, Skeet Ulrich (nice to see you!) and young Skylar Morgan Jones fill out the problematic family well. They just won’t help you remember the movie. Review
It does not pack the visceral punch of 2020’s Possessor, but it is a satisfyingly surreal piece of class warfare and an outstanding way for the genre to kick off 2023. Review
Maybe I Do is unabashedly romantic, deeply traditional, well-meaning and tired. So tired. But at least you get to see four tremendous actors riff off each other for 90 minutes. Review
Where The Father was a transcendent experience that dared to ask viewers to see as a man with Alzheimer’s sees, The Son takes no such daring leap. Its insights are stale, its twists manipulative. The film delivers a classy melodrama, but nothing more. Review
I appreciate the way Benjamin dwells in that fun-and-games space where adults do childish things, where dangerous behavior can masquerade as playfulness. She draws you into a supernatural world that feels whisper close to reality. Review
Legions is a fantasy about regaining the respect of your adult children, and because of that, it’s both relatable and touching. Review
Skolimowski pieces these images together in ways to suggest constant peril as well as beauty. It’s an emotionally exhausting journey, equal parts wonder and pessimism, and it is absolutely unlike any other movie with a dachshund or donkey. It’s unlike any other movie, period. Review
Candy Land is a tough film to recommend for a number of reasons, but it’s worthwhile viewing if only because Swab upends every expectation, instead taking us inside a horror grounded in something surprisingly human. Review
The film sees power as freedom and acknowledges how little of it there is for women, even women who seem to have it all. In the end, it’s the film’s and Krieps’s humanity that make the final moment of freedom feel earned and victorious rather than fraught with compromise. Review
Banderas has a blast, as he has since his first appearance as the booted feline in 2004. Not every actor is cut out for voice work, but Banderas excels. Review
Women Talking is a quietly stunning achievement and a reminder of the power of dialog and respect. Review
You may have to be a fan of Scare Package to appreciate Koontz’s framing story because it picks up not long after the first left off, without explanation. Being in on the joke, as always, makes the gag more satisfying. But that’s the basic premise of every story told in this collection. Review
Scenes sometimes linger longer than necessary, the actors looking like they’re spinning their wheels while the film’s slight runtime begins to feel padded. But thanks to sly maneuvering of genre expectations and a handful of uncomfortable scenes, They Wait in the Dark leaves an impression. Review
The framework – Ausiello delivering his life story as if he’s recounting a favorite TV show – is distracting at best. It robs the film of its passion and guarantees the feeling of inauthenticity. It has its moments, but it never delivers any honest laughter or tears. Review
Davis delivers a solid turn as one wearied to the point of death by quarantine, but it’s Beans’s resilient, naturalistic performance that grounds the unreality in uneasy truth. Mitton’s script sometimes relies on tropes that feel too obvious for his unusual story, and in the end, it’s an overreliance on genre mechanisms that keeps the film from really cutting free from expectations and saying something truly fresh. Review
The film’s deliberate pace and overtly reflective nature will irritate impatient moviegoers, and its plot turns are sure to disappoint true genre fans. But what Hogg’s crafted is a film that haunts, whether the specter is supernatural or not. Review
The Inspection is a showcase for the idea that resilience comes from a balance of strength and forgiveness. French finds ways to forgive what to most would be unforgivable. This is how he perseveres. It’s a beautiful, difficult lesson to learn, even for a viewer. But thanks to that resilience, we have this exceptional film. Review
Even for its diabolical sirens and eight-legged tricksters, it’s Nanny’s naked honesty that makes it so scary. Review
Pareja’s depiction of David’s gradual decline unsettles. Martín rushes nothing, and though he leaves breadcrumbs, you’ll never know for sure where he’s leading you. The result is a somber, unnervingly realistic punch to the gut and a reminder that friendship does not have to be forever. Review
The film does an about-face at nearly its halfway mark, not only changing from Bruce’s perspective to Meredith’s, but evolving from straightforward narrative to something hallucinatory and fascinating. Review
The Fabelmans is no Jaws, no Raiders of the Lost Ark or E.T. But it’s an exceptional movie about how those other movies could have ever happened. If you’ve watched Spielberg’s movies – his early masterpieces, in particular – you can feel the weight of his parents’ divorce. Review
Bones and All is a tough one to categorize. I suppose it’s a horror film, a romance, and a road picture – not three labels you often find on the same movie. In Guadagnino’s hands, it’s more than that, though. He embraces the strength of the solid YA theme that you have to be who you are, no matter how ugly the world may tell you that is. Review
The film’s greatest weakness is its final act, which is enjoyable but unsatisfying. Still, the entertaining Blood Relatives delivers a savvy family comedy. Review
The animation itself is breathtaking, and perfectly suited to the content, as if we’ve caught an artist in the act of giving his all to bring his creation to life. Everything about the film is so tenderly del Toro, whose work mingles wonder with melancholy, historical insight with childlike playfulness as no other’s does. Review
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