• Scream



    (No spoilers.) The only way this franchise makes sense is as an ongoing meta-commentary in which characters make choices that benefit the franchise — not, that is, as an actual narrative about real characters with human motivations and instincts. In other words, the only way it makes sense is if you don't expect it to make sense.

    With that caveat, Scream 5 is OK. It's overly impressed with itself for being a "requel" — which is just a sequel that…

  • Eternals



    There are some interesting ideas here. It's too bad it has to be wedged into the Marvel universe, where it doesn't fit. Also too bad it's dull and ponderous a lot of the time.

  • Killer's Kiss

    Killer's Kiss


    Early Kubrick feature is a hard-boiled noir, barely over an hour, with plenty of Kubrickian shot composition.

  • Children of the Corn III: Urban Harvest

    Children of the Corn III: Urban Harvest


    A bad movie of average badness, with some amusing details that make it watchable. I spent a lot of it trying to think of names for the corn-based religion that these kids practice. Best I came up with was Episcornpalian.

  • Mary Shelley's Frankenstein

    Mary Shelley's Frankenstein


    I see the logic in having Robert De Niro play your hulking, terrifying monster ... but maybe not in the version of the story where the monster is supposed to be articulate.

  • Stormy Weather

    Stormy Weather


    Reasons to watch this: It's short, and it has some incredible dancing.

  • Encanto



    Oh, this is lovely. I thought I was tired of Lin-Manuel Miranda, but I loved the songs.

  • Being the Ricardos

    Being the Ricardos


    I have no particular beef with this movie, other than its focus being narrower than I would have liked, and apart from the framing device of "interviewing" participants decades later (which adds no information and defies logic because those interviews would have to have been taped in the '80s but don't look like they were). I would love a movie (or TV series) set behind the scenes at a popular 1950s sitcom that had room to explore everything this movie tries to cram in — McCarthyism, Lucy & Desi's marriage, social mores, comedy stereotypes, etc. — but this is solid.

  • House of Gucci

    House of Gucci


    This is fun and kind of trashy, but everyone should have done whatever Jared Leto was doing instead of taking it seriously. (Al Pacino seems like he's closest to Leto's wavelength.)

  • The Guilty

    The Guilty


    I really liked the Danish version of THE GUILTY, but the Jake Gyllenhaal Netflix remake did little for me. Already knowing the twists and turns was probably a factor. And even with my built-in fondness for Jake, this guy seemed like more of a jerk than the Danish version did.

  • No Sudden Move

    No Sudden Move


    Cracklin' good crime fun. This isn't a complaint, necessarily, but it feels like the final three episodes of a season of Fargo.

  • Don't Look Up

    Don't Look Up


    This is mildly amusing, but it needed more of everything. The satire needed to be sharper, the absurdity more absurd. Instead, it straddled the line between ridiculous-yet-realistic and just plain ridiculous, usually erring on the side of the former. Armando Iannucci or even Mike Judge could have done great things with this.

    I loved the bit about the general and the snacks, and the callbacks to it. Cracked me up every time.