The biggest problem with Godzilla: King of the Monsters, other than its complete and utter contempt for wonderment or originality, is the ridiculous belief that the viewer should care about a bunch of characters that are so poorly written that they barely qualify as archetypes.
Rocketman is possibly the best full-on musical phantasmagoria about a famous person destroying and reclaiming their life since Bob Fosse’s All That Jazz.
Anyone interested in figuring out how constructive and meaningful film criticism works will get a nifty primer from Jeffrey McHale’s equally playful and intelligent documentary You Don’t Nomi, a deep dive into the tremendous amounts of love and hate that have been directed at Dutch filmmaker Paul Verhoeven’s 1995 “masterpiece of shit” Showgirls.
Linda Goldstein Knowlton’s documentary We Are the Radical Monarchs is the inspirational and aspirational story of a group of adults and kids from California’s bay area who’ve created an inclusive, politically engaged alternative to the Girl Scouts and Brownies.
Knives and Skin, the latest feature from American filmmaker Jennifer Reeder, suggests what might happen if television’s Riverdale gave up all pretenses of being a straightforward, ridiculously over-plotted teen soap opera and fully gave in to its own underlying weirdness and became something much closer to Twin Peaks.
Writer-director Doug Spearman’s latest film, the romantic drama From Zero to I Love You, is clearly a labour of love that’s making-do with the limited amount of resources it has on hand.
Scream, Queen! My Nightmare on Elm Street chronicles the life and career of actor Mark Patton, who started his career with some degree of success in commercials and television and some acclaim from working with the likes of Robert Altman and Cher, only to suffer a major career threatening stumble when he was tapped to star in the horror franchise picture A Nightmare on Elm Street 2: Freddy’s Revenge.
The Garden Left Behind is a forceful, thoughtful, timely, and important look at being marginalized in America.
All is True finds its director and star Kenneth Branagh channelling his love of all things Shakespearean into a refined, but unpretentious sort of passion project.
About all that’s missing from director and co-writer Richard Shepard’s gleefully nasty revenge thriller The Perfection are cackling, wisecracking appearances from The Cryptkeeper at the beginning and end of the film as bookends, and that’s not necessarily a bad thing.