Movie reviews of Jeremy Lebens

Rod Lurie's The Outpost is a no-nonsense film, capturing the brutal intensity of warfare in a way that feels terrifying, yet authentic. Lurie's interest in accuracy and depicting the bravery of the real-life soldiers the film is based on makes for an engaging thematic experience that demands your attention.

Kenneth Branagh's Artemis Fowl is a trash heap collection of unforgettable moments strung together by wooden performances across the board. There is a reason Disney ditched this film's theatrical release and opted for the quiet Disney+ approach.

The King of Staten Island succeeds because of its star and co-writer Pete Davidson. The SNL regular elevates the film because of its true-life roots and his ability to bring a level of authenticity to the character. Otherwise, Staten Island feels very much like the rest of director Judd Apatow's recent output -- it's too long and requires much patience.

Sam Hargrave’s Extraction is a serviceable action picture that features occasional bright spots, including an extended one-take action sequence that is impressive on a technical level, as well as a reliable performance from Chris Hemsworth, but the film’s simplistic plot and predictable second half prevents it from overcoming its genre stereotypes.

Bloodshot features a familiar story, cool tech and some flashy action, but it's mostly just Vin Diesel being Vin Diesel and director David F.S. Wilson doesn't seem to think that most will notice or care.

Gavin O'Connor's The Way Back is a predictable, yet cathartic sports drama that is anchored down by Ben Affleck's powerhouse performance. Affleck steals the show in what otherwise could've been another forgettable comeback story.

Cathy Yan's Birds of Prey is an explorative look inside the mind of one of DC Comics' most outlandish characters Harley Quinn, played perfectly by Margot Robbie. Birds of Prey is creative and off-the-walls fun in ways that comic book movies usually aren't. The characters take the center stage, while the action and story follow suit to make for one of DC's more memorable adaptations in recent memory.

Bad Boys for Life is the most potent Bad Boys film yet, with directors Adil & Bilall trading Michael Bay's over-stylized action and bloated runtime for a film that's leaner and more focused on its characters and the story's progression. Will Smith and Martin Lawrence inject new life into these classic characters.

William Eubank's Underwater is a lean horror film, paying homage to classics, while also taking advantage of its unique setting and excellent cast. Kristen Stewart dominates the screen, while the creature designs and overall special effects make the film look and feel distinguished. This movie never lets up, jumping into action within mere minutes and keeping that momentum until the very end.

1917 is visually engaging experience, capturing the claustrophobic mess of trench warfare through the lens of a true auteur. Its one-shot approach definitely adds to the intensity and makes for a truly unique WWI experience. Unfortunately, the film's pacing holds the film back from becoming great, making the lacking script stick out like a sore thumb.

Nicolas Pesce's iteration of The Grudge is a dark and moody slow-burn thriller that's occasionally disturbing, but mostly just a retread of what came before it. Actress Andrea Riseborough gives a compelling performance as the film's lead, but most of the film feels like something better is trying to get out, but that never quite happens.

Star Wars: The Rise of Skywalker is a fitting conclusion to the epic Skywalker Saga. It closes one rather large chapter in the storytelling world of Star Wars by bringing back old characters, revisiting past themes and giving a fitting sendoff to those that we've grown to love over the years. It also tries desperately to course-correct the actions brought into play in The Last Jedi, which makes for an over-stuffed blockbuster th...

Uncut Gems is a turbulent masterpiece, directed with agility and bravado by The Safdie Brothers and acted with an Oscar-worthy by Adam Sandler. This 100-mile-a-minute look at the colorful life of a seedy jeweler just might be one of this year's best films when it's all said and done.

Jumanji: The Next Level offers up some next level action and adventure, in a familiar wrapper that again takes advantage of the chemistry between its leads, but feels repetitive and safe, despite its attempt at mixing things up.

Knives Out sports some memorable performances that work as a collective, but the film fails to capture the audiences attention throughout its lengthy running time that is far from the twists and turns promised in the trailers. It's the first whodunit that doesn't really seem to care about who did it.

21 Bridges is a predictable, yet entertaining race against the cop flick, with Chadwick Boseman playing a more than serviceable lead, full of unstoppable rage and a moral compass. Director Brian Kirk keeps things pretty close to the chest, but the end result is a decent way to kill two hours.

Frozen II fails to recapture the magic of the original film, adding colorful set pieces and even more family-friendly songs to attract the kiddos, yet forgets that a driving plot with engaging characters is what really makes for a memorable movie. I applaud Disney Animation for making another gorgeous-looking film, but shake my head at the obvious cash-grab mentality that went into producing this sure-fire box office juggernaut.

Ford v Ferrari is an enthralling and captivating film, capturing the beating spirit of the American dream with its complex characters, played with unrelenting motivation by Matt Damon and Christian Bale. James Mangold's direction elevates the true-life story to heightened levels, which makes for one of the year's most exhilarating films.

Last Christmas is charming and weird, with director Paul Feig embracing the cheesy Hallmark feel, yet still managing to get a warm performance out of Emilia Clarke and an ending that gives the film a surprising boost.

Mike Flanagan's Doctor Sleep is worthy sequel to Stanley Kubrick's classic The Shining, both based on the novels written by Stephen King. Doctor Sleep's true terror rests with its depiction of alcoholism and addiction, wrapped in a very spooky shell, full of creepy imagery and nail-biting suspense, in addition to well-acted and purposed drama.

Terminator: Dark Fate takes one step forward and two steps back. It's better than the last two entries by a wide margin, but still struggles branching out from being just another carbon copy of Terminator 2: Judgment Day. Director Tim Miller brings the action goods and the return of Sarah Connor, but struggles rising above the messy writing.

Honey Boy is a tragic self-reflection from writer Shia LaBeouf that's constantly scratching at truth and wholesome sincerity in ways that will surely move you. Honey Boy is one of the most beautifully haunting films of 2019.

Zombieland: Double Tap recaptures that same gore-filled energy and excitement from Ruben Fleischer's first film, thanks to its returning cast and crew. Double Tap doubles down on the action, the violence and comedy to make for that rare sequel that actually warrants existing.

Ang Lee's Gemini Man gives us a promising look into the future of the tech behind how we create and consume movies, but not much of anything else. The film itself is a middle-of-the-road Will Smith action film that feels far more innovative from a technical standpoint than it does as an actual film. See it in the highest resolution and frames-per-second as possible or don't bother seeing it at all.