Directed by Matt Ruskin — Screenplay by Matt Ruskin.
Boston Strangler is based on the true story of the investigation into the 1960s serial killer known as the ‘Boston Strangler.’ The film primarily follows Boston Record American reporters Loretta McLaughlin (played by Keira Knightley) and Jean Cole (played by Carrie Coon) as they try to investigate the story and break through small cracks in their profession’s glass ceiling.
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Directed by Scott Beck and Bryan Woods — Screenplay by Scott Beck and Bryan Woods.
The first time I saw the trailer for 65, I was immediately hooked. Here was a sci-fi film, with an excellent leading man, that appeared to dare to do something else with dinosaurs than the Jurassic Park sequels did. ‘Dinosaurs versus Adam Driver with sci-fi weapons’ was a concept that was always right up my alley. I was curious to find out what novel sci-fi twist or spin that writer-directors Scott Beck and Bryan Woods (the duo who wrote A Quiet Place) had hidden up their sleeves. However, 65 didn’t have all that much hidden in the final film that wasn’t already apparent from the trailer and this was a massive disappointment to me.
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Directed by Jamie Payne — Screenplay by Neil Cross.
The British crime drama series Luther has been on my watchlist for quite some time. Recently, with the release of Luther: The Fallen Sun on the horizon, I decided to finally check it out, and, so, I’ve spent the better part of a week binge-watching the British series that proved to be a successful star vehicle for Idris Elba whose magnetic screen presence elevated the series above lesser genre fare. I liked the series quite a bit, but, admittedly, the show started to lose me around series four, and the show didn’t hold my attention or interest as well in series four and five as it had done earlier. This did make me nervous about the film, as it was written by the series’ writer and creator and directed by the man who directed the fifth series. While The Fallen Sun is not without faults (it’s incredibly obvious what it’s trying to be), I must admit that I found it to be more arresting, gripping, and watchable than both series four and five.
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Directed by M. Night Shyamalan — Screenplay by M. Night Shyamalan, Steve Desmond, and Michael Sherman.
Like you may have read previously elsewhere, M. Night Shyamalan was once dubbed ‘the next Spielberg.’ It was meant as a great honor but became a bit of a challenge to live up to. After four or five disappointments in a row between the mid-2000s to the early 2010s, Shyamalan was no longer being compared to Spielberg but rather known for his reliance on twists and his cameo appearances, as well as for his kind of unconvincing dialogue. With The Visit and Split, fans of his — and I consider myself a fan — started to believe that he was making a return to form with simpler premises and genuinely strong films. Then Glass was released — the conclusion to his Unbreakable trilogy — and it was another crushing disappointment — a cruel twist on his supposed ‘return to form’ for fans of his. He’s not done, though. In 2021, he released Old to mixed reviews, and, this year, he’s got Knock at the Cabin to showcase his talents with. Unfortunately, neither of those films fully worked for me. They aren’t outright disasters like some of the works that derailed his career, but even though they indicate that Shyamalan is on his way back, they also show that he still has a ways to go before being back ‘in form.’
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We’ve now all had some time to sleep on and sit with the 95th Academy Awards ceremony, and, so, now feels like a good time to look back and assess what is supposed to be the biggest night in Hollywood. Jimmy Kimmel was back to be the host, all of the categories were back, and it never got physical like last year did. It was therefore meant to be a normal Oscars ceremony, but what does a normal Oscars ceremony look like in 2023, and how should we feel about this year’s list of winners? Well, I have thoughts.
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The following is a recap and review of the ninth episode and season finale of HBO’s The Last of Us. Expect story spoilers.
In the ninth and final episode of the first season of the HBO adaptation of the critically acclaimed video game franchise known as The Last of Us — titled Look for the Light — Joel (played by Pedro Pascal) and Ellie (played by Bella Ramsey) finally reach the hospital that they’ve been moving towards. But how will the Fireflies greet them? Look for the Light was directed by Ali Abbasi (Holy Spider and The Last of Us: When We Are In Need) and written by Craig Mazin (Chernobyl) and Neil Druckmann.
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The wait is almost over. Soon Oscar statuettes will be handed out by Hollywood (often) to Hollywood in an annual celebration of cinema that sometimes gets it right. I can’t wait. This year, it certainly looks like the stars have aligned for Everything Everywhere All at Once, one of the very best films of 2022. But, and this will be interesting, how many awards will the current Oscars favorite go home with once the night is over and done with? Can SAG-winner Michelle Yeoh still win, even though Cate Blanchett appears to be the industry favorite? Will AMPAS go for the young star in Austin Butler or the comeback king in Brendan Fraser? Well, here’s what I think will happen on the biggest night in Hollywood.
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Directed by Will Merrick and Nick Johnson — Screenplay by Will Merrick and Nick Johnson.
The filmmaking medium is constantly in a state of development and reinvention with artists seeking to find new ways to tell audiovisual stories. The found-footage genre was a huge trend that still pops up every now and again nowadays, and the latest found-footage-esque trend is the screenlife, or screencast, genre where the entire story is told by showing computer screens, smartphone screens, or the like. The Unfriended films are solid horror examples of this (as is Rob Savage’s Host, a terrific COVID-set horror film about Zoom video calls), and Aneesh Chaganty’s Searching starring John Cho is probably the best film of its kind. Searching followed a scared father searching for his missing daughter. The editors of Searching Nick Johnson and Will Merrick have ‘graduated’ and now serve as directors of its ‘standalone sequel’ titled Missing. On the whole, Missing is a really solid feature directorial debut, but it also feels really familiar and isn’t quite as good as the film it is following up on.
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The following is a recap and review of the eighth episode of HBO’s The Last of Us. Expect story spoilers.
In the eighth and penultimate episode of the first season of the HBO adaptation of the critically acclaimed video game franchise known as The Last of Us — titled When We Are In Need — Ellie (played by Bella Ramsey) encounters a group of survivors that may be more trouble than they seem. When We Are In Need was directed by Ali Abbasi (Holy Spider) and written by Craig Mazin (Chernobyl).
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Directed by Michael B. Jordan — Screenplay by Keenan Coogler and Zach Baylin.
It would be fair to say that Michael B. Jordan is, to a certain extent, following in the footsteps of Sylvester Stallone. Not only has he taken over as the lead of the Rocky franchise, which is now spearheaded by Apollo Creed’s son, Adonis “Donnie” Creed, but his films have followed similar patterns as Stallone’s Rocky films. With Creed III, the extent to which Jordan is following in his footsteps has reached a new level with Jordan taking on directing duties just as Stallone eventually did for one of his most beloved franchises, which he appeared to exit at the end of Creed II (I thought it was a sweet ending to his story, though it sounds like he isn’t happy about the series moving on without him). Ryan Coogler’s Creed was a beautiful and moving knockout blow, Steven Caple, Jr.’s Creed II was solid but formulaic (and felt too much like a sequel to Rocky IV), and, now, Michael B. Jordan’s Creed III is similarly formulaic but it is also a strong and satisfying response to some of the reservations that I had about Creed II.
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I'm Jeffrey Rex 