The following is a review of El Hoyo, also known as The Platform — Directed by Galder Gaztelu-Urrutia.
I have been looking forward to this movie for close to six months. I heard it described as one of the best horror films of 2019 and one of the coolest movie concepts of that year. People whose opinions I pay attention to were praising this movie so much that I ended up having fairly strong expectations for the film. Thankfully, Galder Gaztelu-Urrutia’s feature film directorial debut did not disappoint, even though the debut director failed to make his film stand out from other similar films. Continue reading “REVIEW: El Hoyo (2019)”→
The following is a review of Lost Girls — Directed by Liz Garbus.
Netflix is starting to build itself a strong reputation for being a good home for true-crime content. There are numerous Netflix exclusive true-crime docu-series and films that I have been very fascinated by. The latest true-crime content from Netflix is Lost Girls, the narrative film debut from the seasoned documentary film director, Liz Garbus, who I don’t think, ultimately, does enough with this incredible true story. Continue reading “REVIEW: Lost Girls (2020)”→
The following is a review of The Invisible Man — Directed by Leigh Whannell.
120 years after H. G. Wells’ original science fiction novel The Invisible Man was released, Alex Kurtzman’s The Mummy was released to negative reviews. That film was intended to kickstart an interconnected cinematic universe known as the ‘Dark Universe,’ of which a The Invisible Man-adaptation was supposed to be a part. However, instead, the Dark Universe quickly became the most used example of a cinematic universe that fell apart before it had a chance to connect two films. Three years after the release of Kurtzman’s monster movie, which was a critical and financial failure, we have the latest adaptation of the aforementioned iconic Wells-novel. Although Leigh Whannell’s The Invisible Man is notably not a part of any cinematic universe, he has done what Kurtzman, unfortunately, failed to do, i.e. make an effective and modern monster movie. Continue reading “REVIEW: The Invisible Man (2020)”→
The following is a review of Road to Roma (Orig. Title: Camino a Roma) — Directed by Andrés Clariond Rangel & Gabriel Nuncio.
Andrés Clariond Rangel and Gabriel Nuncio’s Road to Roma is a making of-documentary about Alfonso Cuarón’s Oscar-winning Netflix film Roma. This documentary is available on Netflix right now, but it will also be available on the upcoming Criterion Collection release of the Netflix film. Therefore, one could argue that this is really just a glorified special feature, but since the documentary has a runtime of 73 minutes, I think, it deserves to be treated as its own thing and be reviewed, just like I reviewed Anthony Wonke’s The Director and the Jedi. Continue reading “REVIEW: Camino a Roma (2020 – Documentary)”→
The following is a review of To All the Boys: P.S. I Still Love You — Directed by Michael Fimognari.
Netflix has only released its own films since late 2015, but, just five years later, the streaming service now has what could be a successful film series. 2018’s To All the Boys I’ve Loved Before (from director Susan Johnson) was a surprise romantic-comedy hit that its young target audience ate up. Two years later and we now have its first sequel, Michael Fimognari’s To All the Boys: P.S. I Still Love You. Continue reading “REVIEW: To All the Boys: P.S. I Still Love You (2020)”→
The following is a review of Klovn: The Final — Directed by Mikkel Nørgaard.
The Final is the third and supposedly final film entry in the wildly popular Danish comedy series known as Klovn (which means clown), a Danish comedy franchise inspired by Curb Your Enthusiasm starring two of Denmark’s most popular comedians, Casper Christensen and Frank Hvam, playing fictionalized versions of themselves. Casper Christensen, who recently appeared in Chris Addison’s Rebel Wilson and Anne Hathaway-led comedy The Hustle, could be called Denmark’s Jerry Seinfeld, but his character on the show is very different. The Casper character is a womanizing sexual addict, who constantly gets his best friend Frank into trouble. Frank Hvam’s character is the ‘Larry David’ of Klovn. The Frank-character makes many embarrassing blunders, and his partnership with Casper Christensen always gets him into trouble with his wife and their friends. Continue reading “REVIEW: Klovn: The Final (2020)”→
The following is a review of Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) — Directed by Cathy Yan.
In 2016, David Ayer’s messy and displeasing Suicide Squad embiggened the then fairly new cinematic universe from DC Films and Warner Bros. Pictures. Although it somehow won itself an Academy Award, the film was rightfully panned by critics, including me. I often think back on that film as being one of the absolute worst superhero films of the last decade. Therefore, at first glance, a spin-off from Suicide Squad, which is exactly what Cathy Yan’s Birds of Prey is, shouldn’t appeal to me at all. However, this film promised to not just focus on the most entertaining character from Ayer’s film, it also promised a more colorful, more fun, and more feminine approach to a cinematic universe that could benefit from some levity and brightness. Thankfully, although I have some issues with her film, Cathy Yan has successfully brought the film’s characters to life in an entertaining way. Continue reading “REVIEW: Birds of Prey (2020)”→