“The Deliverance," directed by Lee Daniels, was advertised as the next great Netflix horror film. It is not. “The Deliverance” is the first horror film directed by the Oscar-nominated Daniels, who is best known for his critically-acclaimed dramas “Precious” (2009), “The Butler” (2013) and “The United States vs. Billie Holiday” (2021).
One of the most anticipated releases from Marvel, “Deadpool & Wolverine,” came to the big screen this summer with a wave of excitement from fans and as a hopeful new breath of life for the superhero production company. This film brought the classic character back to the big screen after fans questioned whether Marvel Studios would continue using the man in red since Disney acquired 20th Century Fox. An even more unprecedented return was Hugh Jackman as Wolverine and his entrance into the Marvel Cinematic Universe (MCU).
“It Ends With Us” — both the 2016 hit novel written by Colleen Hoover and the new film — tells a story of intricate human love. “It Ends With Us” is also a raw unveiling of perpetual domestic abuse. These two statements are not mutually exclusive, no matter what the film’s thoughtless press tour advertises.
If one had to describe the ruling genre in Hollywood as we approach the mid-2020s, then sequels, adaptations and remakes would be right at the top of the list. Among these is “Twisters,” a stand-alone sequel of the 1996 blockbuster “Twister.” Despite the only characters it shares with the original being tornadoes, “Twisters” offers a captivating ride, sticking to the “American dream” movie formula of the ’90s.
When it comes to desire, passion and lustfulness, Luca Guadagnino is an expert at capturing it — the excitement, the thrill and even the shame of it all. He has proven himself capable of seducing the audience through his depictions of sensible and, at times, out of the box erotisms. It’s no surprise then when Guadadino and novelist-playwright Justin Kuritzkes take tennis, one of the most erotic sports, and craft a restlessly sexy, infuriating film in “Challengers.” Since its release April 26, “Challengers” has become No.1 in the box office with a domestic gross of $15 million.
When it comes to Guy Ritchie, one can only expect the most outlandish, over-the-top action centerpiece to arrive at theaters with explosive flare. Supported by an incredible cast that is fronted by Henry Cavill and Alan Ritchson, “The Ministry of Ungentlemanly Warfare” is a film that plays to its director’s strengths every chance it gets.
In an era where movie critiques and visual essays analyze every frame of a film, artistry is often the priority. While creative in its own right, “Abigail” is a film that focuses on fun — and the watching experience is significantly better for it. The slightly comedic vampire horror/thriller movie was first released April 19.
This year’s South By Southwest (SXSW) in Austin, Texas was filled to the brim with incredible new projects. Festival goers were able to get first-looks at Alex Garland’s “Civil War,” Dev Patel’s “Monkey Man” and Amazon Prime’s new “Fallout” series. But every large media festival is bound to have some less than satisfactory projects, and SXSW is no different.
In director Alex Garland’s raging, uneasy portrait of the United States’ near future in “Civil War,” the finite details of what issues people are fighting for are intentionally left unclear and unexplored.
“Monkey Man” is a bloodthirsty, action-revenge story following the emotional crux of class struggles in modern-day India but painted parallel against the echo of a mythical Hindu legend. Being the long-awaited directorial debut of the British filmmaker, actor and writer Dev Patel, the film explores many angles of its protagonist’s emotional journey and the thematic developments that infuse it, but where it really shines is in its absolutely subversive action.
Fresh off the heels of Oscar-winning “Godzilla Minus One,” the monster-movie genre is brimming with a newfound sense of potential. It is up to any director to capitalize on a possible revitalization, and Adam Wingard is seemingly up to take a chance with “Godzilla x Kong: The New Empire.” Written by the trio of Terry Rossio, Simon Barrett and Jeremy Slater, this kaiju throwdown released March 29 for an Easter Sunday box office hit.
Salvadoran performer Julio Torres came onto the American comedy scene with an act unlike most had seen. His deadpan delivery and quiet-as-a-mouse disposition juxtaposed perfectly with the eccentric subject...