Perhaps it was destined to be this way. 20 years ago, Sam Raimi swung into the superhero genre with 2002’s Spider-Man, thus changing the modern blockbuster landscape for decades to come. In a poetic, …
‘The Lost City’ review: This silly and fun rom-com adventure ultimately loses itself
There’s something comfortably adequate about The Lost City. Nothing about the film is exceptional in any particular way. The performances are fine, the filmmaking is fine. The story itself is formulai…
‘Cyrano’ review: Peter Dinklage sings for the fences in this romantic musical retelling
Love or hate him, Joe Wright takes big swings as a filmmaker. Even in broadly commercial affairs like 2017’s Darkest Hour, the British director likes to make grand, elegant pictures filled with bold d…
‘The Mission’ review: A human, but not holy documentary about Mormon evangelism
From a documentarian perspective, The Mission is faced with an intriguing challenge. How can one explore the inner lives of young latter-day saint missionaries, who are prone to being chaste and devou…
‘Jackass Forever’ review: A joyful celebration of masculinity in all its, ahem, fluidity
Johnny Knoxville and the gang return for even more hurt in Jackass Forever, the fourth installment in the series that invites you to laugh your ass off. Back in 2000, at the start of the new millenniu…
‘The Pink Cloud’ review: An unusually cathartic pandemic drama
Sometimes, art imitates life, and sometimes, life imitates art. It’s difficult to know what exactly writer-director Iuli Gerbase was thinking or feeling when everything came crashing down shortly afte…
‘Hotel Transylvania: Transformania’ review: A modest makeover that is frightfully fine
The fourth installment of the Hotel Transylvania film series lands with a lot of new talent behind the scenes. But is it a scary good time? Whether you find them frightfully funny or terrifyingly terr…