Director Miranda de Pencier and Indigenous actors Paul Nutarariaq and Anna Lambe talk about the true story behind the Canadian film, The Grizzlies.
Kevin Kölsch and Dennis Widmyer’s skillful, spooky, and ultimately superfluous updating of Pet Sematary is a film that recycles about 85% of its big screen predecessor wholesale with modest improvements here and there and a respectable reverence for its source material.
If you’re fatigued by the glut superhero movies (and box office numbers would suggest that you’d be in the minority of the filmgoing population if you were), Shazam!, the latest entry into the expanding and changing DC universe, won’t hold much appeal. If, however, you’re either a casual or ardent fan of all things caped and powerful, Shazam! is a solidly entertaining and frequently very funny addition to the canon.
Packed to bursting with subtext, laughs, shocks, and genuinely terrifying scares, Jordan Peele’s second feature film, Us, will satisfy casual genre fans and devotees of auteur driven cinema equally, but those in the latter category will probably spend more time piecing together what it all could mean.
As visually dazzling and inspired as it is refreshingly offbeat and silly, Aquaman effortlessly entertains if you’re able to get on board with its particular blend of genteel corniness and old school blockbuster swagger.
Spider-Man: Into the Spider-Verse is nothing shy of brilliant; the only truly unmissable blockbuster of the holiday movie season.
David Gordon Green’s heavily hyped and anticipated remake of John Carpenter’s 1978 horror movie classic Halloween takes an old standard, makes some intriguing tweaks, slaps on a new coat of blood red paint, and serves up a nifty balance of old school slasher movie shocks mixed with admirable, post-modern upgrades.
Writer-director Drew Goddard’s talky, delicately constructed, but dangerously overstuffed 60s set suspense mystery Bad Times at the El Royale is an overlong, but curiously still underdeveloped bit of entertainment that wins one over through the sheer force of the performances contained within it and a handful of good ideas.
A personal, terrestrial, and sometimes even bracingly experimental look at the historical race to reach the moon, Damien Chazelle’s First Man is a technically dazzling and dramatically satisfying work from one of this generation’s finest filmmakers.
Marred by a clear, obvious, and marked series of poor decisions throughout the filmmaking process, the standalone, antiheroic Venom movie will disappoint fans of one of Spider-Man’s greatest nemeses to no end, and will leave casual observers of comic book films half-heartedly shrugging in apathy.