John Dotson Nope sees Jordan Peele expand his horror scope with grandeur. We are no longer in the small intimate horror territory with Peele. The size of his alien invasion film shows off a new side of the director. We see maturity in this Peele film that is easily comparable to Spielberg jumping from Jaws to Close
Don’t Make Me Go sees John Cho as Max Park, a father figure with cancer. After discovering his illness, Max is faced with insurmountable odds of living. Being a single father, Max decides to take his daughter Wally (Mia Isaac) on a road trip in hopes of giving his daughter some final life lessons. The
Minions: The Rise of Gru goes back to its roots by refocusing on the soul of the franchise. The villainous Gru was always what made the series have a beating black heart as he attempted to be an over-the-top Bond-style villain. But succumbing to the empathetic power of children is a hard task to resist
The Unbearable Weight of Massive Talent introduces Nicolas Cage as Nicolas Cage at his most self-aware. So meta, that Cage himself argues with an imaginary friend throughout the film that happens to be his persona of Sailor from the 1990 David Lynch film Wild At Heart. The juxtaposition of normal Cage and Wild At Heart’s
Halo has been in development for years, including a movie many years ago that had Peter Jackson as producer and Neill Blomkamp as director. Now, Halo has life at Paramount+ and has Steven Spielberg as the producer on a television series. The first two episodes get a lot of things right, including the weapons, characters,
The Blind Man Who Did Not Want To See Titanic is about as simple and thrilling a premise as can be written. A blind and wheelchair bound man who spends most of his days in isolation decides to take a bold risk and travel alone. But what if someone decides to take advantage? As stated
To Leslie sees Andrea Riseborough in another career-defining role as a mother in a West Texas town suffering from alcohol addiction. The film debuted at SXSW 2022 and it is one of the most emotionally authentic portrayals of fighting addiction one might see. But this is not a harrowing depiction of alcohol abuse– for example,
SXSW 2022 might still be in full swing for four more days but the awards for the film portion of the festival have been announced. The line-up this year was about as diverse as one would hope for. The programming had everything from inventive Asian-led masterpieces such as Everything Everywhere All At Once to worthwhile
Everything Everywhere All At Once concluded at SXSW and this reviewer was exhausted, emotional, and mindblown all at once. There are no easy ways to explain the insanity of this film and the directions it will take viewers. Upon the ending, the thought of “Who would make such an ambitious work and how the hell
The Prank feels of a different generation—one where movies like The Faculty and Teaching Mrs. Tingle made the cineplexes in a late 1990s era. It mirrors old-school high school flicks that made us ask if our teachers were aliens or psychos who ate children when they were off duty. The Prank takes this concept and