The Man (2017)
The aching, vacant tone that director Charlotte Sieling adopts here feels like a distant echo of Buñuel’s satire.
Come on Baby Driver, Don’t Fall Down on Me Now
Baby Driver has been widely compared to musicals; but this ain’t no musical. This is a mixtape movie.
Eight Reasons to Love Spider-Man: Homecoming
It feels like a surprise that Spider-Man: Homecoming is as good as it is.
It Comes at Night Exploits the Terror of the Unknown
It Comes at Night unnerves its audience through its destabilising insistence on avoiding explanation.
The Mummy: Tom Cruise vs The Franchise Film Bubble
The Mummy isn’t a travesty. It’s just Red Rooster, and everyone’s already at KFC or McDonalds.
A Goddess Among Us: Wonder Woman Entertains Despite Inability to Innovate
Is Wonder Woman the saviour of DC? Let’s not get too far ahead of ourselves.
Write Better Movies: Baywatch and Pirates of the Caribbean: Dead Men Tell No Tales
Either Baywatch or Dead Men Tell No Tales could have been good – well, passable – with screenplays content to be plain ol’ mediocre.
John Wick: Chapter 2
In one of John Wick: Chapter 2‘s rare peacful moments, Keanu Reeves sports a turtleneck in Rome. Even this film’s lulls are indescribably awesome.
Don’t Tell: A Well-Made Courtroom Drama Lacking Cohesion
Don’t Tell is an excellent film with major flaws, undone by its own lack of focus.
The Perverse Pessimism of Alien Covenant: The Best Alien Movie Since Aliens
Ridley Scott uses all the black goop and snarling xenomorphs to stage an earnest, ambitious attempt to grapple with big ideas.
ccpopculture 