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  • Brightburn



    This review may contain spoilers. I can handle the truth.

    The elevator pitch is “Superman meets The Omen” and it doesn’t really color outside those lines. 

    Highlights: Some horrifying kills, with “dare you to keep looking” camerawork straight out of Lucio Fulci film academy. Excellent casting (the parents are as loving and relatable as you could want). Some successful placement of Chekhov’s guns, in ways that pay off unexpectedly.

    Lowlights: Takes a long while to get going and cops out on the kid’s motivations. 

    There’s a joke in the closing…

  • Glass



    Starts well enough, then takes a plot detour that is both un-suspenseful (Will the villains break out of their cells? Is the character we've never seen before also a baddie?) and poorly written. Even Mr. Glass's big recovery from his coma is a rip of "The Dark Knight Returns," which (do I need to say it) did a hell of a lot more with the concept.

    Good: McAvoy's camera-chewing, Samuel L. Jackson's 15 minutes of screentime, Sarah Paulson doing some…

Popular reviews

  • The Favourite

    The Favourite


    Why can’t every movie be like this, mutilating a story from history into a hilarious collection of slanders? Also, no spoilers, but you’ve never seen such a successful dramatic use of Emma Stone’s freakishly large eyes. 

    Everyone’s amazing in this, but the MVP might be Nicholas Hoult as a dandy fop who is actually right about the war.

  • Sorry to Bother You

    Sorry to Bother You


    Racial commentary, Marxism, Michel Gondry pastiches, Armie Hammer grinning as he talks about "horse cock," electric chair earrings, magical realism, "The Last Dragon" as slam poetry, puppetry, Terry Crews popping diabetes meds out of a crucifix, and lots of existential dread. Just a goodass night at the movies. The soundtrack also whips.