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Saturday, April 4, 2020

[3.00/10] Coffee & Kareem (2020)

Coffee & Kareem (2020)

Quick Review: Annoying, moronic, vulgar, and as unnecessarily violent as it is painfully unfunny, "Coffee & Kareem" is a dreadfully banal crime comedy about a kid and a cop who team up against drug criminals and police corruption, whose super-thin pseudo-plot consists of obnoxious characters, crude dialogues, cynical humor, and many messy shootouts, and concludes with a cheesy twist, with the only positive thing about it being Taraji P. Henson, even if she's shamelessly underused.

Friday, April 3, 2020

[6.00/10] Emma. (2020)

Emma. (2020)

Quick Review: Everything from the gorgeous set designs and ravishing costumes to the mild candy colored palette and elegant cinematography make "Emma." absolutely exquisite to look at, but apart from that and Anya Taylor-Joy's alluring, if shallow turn as the title character, this hard-to-realize Jane Austen adaptation is too safe, muddled, superficial, and carried away to live up to the playful and cheeky essence of the source material, due to a flat script with little charm and no real depth.

Thursday, April 2, 2020

[4.50/10] I Still Believe (2020)


Quick Review: Manipulative in its dramatic moments, and corny in its romantic ones, "I Still Believe" has good intentions and appealing leads who share some obvious chemistry, but despite its lengthy running time, too many major things happen too fast, hence rushed, not to mention everything about it feels too forced, and as a final result, this faith-based quasi-musical love story hybrid ends up being sappy, weepy, and cheesy, even when it essays to be inspiring, moving, sad, or powerful.

Wednesday, April 1, 2020

[7.50/10] The Occupant [Hogar] (2020)

The Occupant (2020)

Quick Review: Set in the beautiful Barcelona, sleekly-shot, and led by GutiƩrrez's subtly unsettling turn as the manipulative family man-turned-crafty intruder with mean intentions, "Hogar" is a slow if suspenseful, and quiet if cruel Spanish stalker thriller about despair, intrusion, greed, and dark mania of destroying lives and relationships, whose shockingly grim payoff effectively fits the grim nature of its vile and maniacally twisted, yet truly riveting slow-burning story with "Parasite"-esque vibes.

Tuesday, March 31, 2020

[6.25/10] Vivarium (2020)

Vivarium (2020)

Quick Review: Undeniably unique and hauntingly surreal, this Twilight Zone-inspired horror mystery initially impresses with an inventively loopy setup and bizarrely sterile all-green setting of identical suburb houses in a vacant neighborhood, but despite that and Poot and Eisenberg spot- on acting, "Vivarium" goes nowhere really, choosing not to provide any answers to its baffling 'wtf' plot with otherwise inevitable outcome, hence it becomes frustrating to watch after the captivating first act.

Monday, March 30, 2020

[6.00/10] The Way Back (2020)

The Way Back (2020)

Quick Review: Yes, it features Ben Affleck's most emotionally versatile, and arguably his best performance, convincingly portraying his troubled, grieving, and lonely protagonist who is struggling with alcoholism, whilst trying to light up his life, couching a local basketball team of youngsters, but "The Way Back" is too focused on Jack's depressing personal story to work as an uplifting sports movie, and that, along with the dismal tone, turn the whole thing into a somber drama devoid of passion.

Sunday, March 29, 2020

[6.75/10] Swallow (2020)

Swallow (2020)

Quick Review: A tastefully-crafted genre hybrid with nifty use of color and settings, but also a thematically unique one, which explores a weird obsession in a stuck-in-your-throat uncomfortable, if mesmerizing way, "Swallow" kicks off as an unsettling horror with potentially grisly results, then shifts into a feminist break free thriller, and finally ends as a tense family drama, with Bennett giving a nuanced portrayal of an oppressed, lonely and disturbed, yet undaunted pregnant young woman.

Saturday, March 28, 2020

[4.75/10] Blood on Her Name (2020)

Blood on Her Name (2020)

Quick Review: It really wants to be a tense and naturalistic crime thriller with sort-of neo-noir feel and look, which revolves around all the guilt, true fear, conscience, confusion and anxiousness its mentally disturbed protagonist is living through after an accidental murder, who also deals with alienation from her father, but despite Bethany Anne Lind's utterly uneasy and emotional turn, "Blood on Her Name" ends up too shallow, simplistic, underdeveloped and thrill -free, to make an impact.

Friday, March 27, 2020

[7.00/10] Underwater (2020)

Underwater (2020)

Quick Review: Borrowing its ideas from superior creature features set in the space or the sea, this one is far from original, but all its familiarity aside, the technically-deft, stylishly- shot, and well-directed "Underwater" is a tense and thrilling into-the-deep sci-fi horror whose drenched, dark, turbid, and claustrophobic setting is more effective than the jump scares throughout, and the film's strongest asset, followed by the grisly-looking, fearful sea monsters, and Steward's feisty lead performance.

[4.75/10] The Goldfinch (2019)

The Goldfinch (2019)

Quick Review: The golden-ish tint, stylish cinematography and elegant, real sophisticated production design make this one visually enticing, but what "Goldfinch" flaunts in looks it sadly lacks a lot in narrative, as this poorly-rendered adaptation delivers the intriguingly intricate story of its source material in a muddled, bland, clumsy, and perplexing way, turning its lengthy runtime into a patience- demanding, dull experience that not even the great cast can help making it emotional or involving.

Thursday, March 26, 2020

[5.25/10] Spenser Confidential (2020)

Spenser Confidential (2020)

Quick Review: A tonal mess that just can't decide whether it wants to be serious or funny, as it's nonstop shifting between a grisly cop affair involving corruption and kills, and an action comedy with flat attempts at humor and clumsy, hardly exciting fight scenes, "Spenser Confidential" is watchable thanks to Wahlberg's appealing presence, but the movie's identity crisis, along with the lack of direction, flair, wit and thrills, make it a middling crime mystery.

Wednesday, March 25, 2020

[5.00/10] Bloodshot (2020)

Bloodshot (2020)

Quick Review: The nifty final fight is the film's highlight, flashing some elaborate stunts elevated by swanky CGIs, but everything that leads to it is pretty questionable, as apart from a few snazzy action bits and cool hi- tech effects, "Bloodshot" is a rather stale and cheesy superhero flick let down by a rip-off-ish, over-repetitive plot with familiar, thrill-free twists and lack of distinctive villain, with the stiff Vin Diesel being overshadowed by both Gonzalez's beauty and Morris' nerdy goofball character.

Tuesday, March 24, 2020

[6.75/10] Spies in Disguise (2019)

Spies in Disguise (2019)

Quick Review: As energetic and fast-paced as it's crisp, nifty-looking and visually vibrant, not only "Spies in Disguise" is a delightfully geeky animated flick featuring an adorably nerdy protagonist and tons of cool gadgets, and boasting with one of the most fun, entertaining, inventive, and exciting action sequences since "The Incredibles", but its full-of-life and adventurous, yet hardly original story also has a heart, being driven by the growing friendship between Walter and agent Lance.

Monday, March 23, 2020

[7.25/10] Onward (2020)

Onward (2020)

Quick Review: Although it creates a whimsical fantasy world that mixes quirkily magical and modern through its rich animation, the film's CGIs are far from Pixar's slickest, most stylish and outstanding, but the constantly charming, sporadically inventive and often touching "Onward" makes up with a fast-paced, adventurous plot, sweet characters, light humor, and a heartwarming third act in which the poignant 'family is everything' moral message gently takes over the zippy 'magic is fun' conception.

Sunday, March 22, 2020

[7.00/10] The Platform (2020)

The Platform (2020)

Quick Review: With an inventive 'communal experiment' plot that's as much of a mental challenge as its a hunger game, as well as exploring the darkest places of human soul, boldly exposing men's ugliest traits such as greed, selfishness, and lack of solidarity, but also conveying a very thought-provoking message by utilizing its gritty, storey setting as a metaphor for different social classes and layers, "El hoyo" may be nasty, gory and gruesome but it works best as an alarming allegory.

Saturday, March 21, 2020

[6.50/10] The Hunt (2020)

The Hunt (2020)

Quick Review: Over-the-top brutal, wildly erratic, ultra violent, bloody as hell, and utterly sick-in-the head, yet totally ludicrous, "The Hunt" doesn't succeed as a social commentary, in spite of its satirical approach, but its campy and demented 'nasty game' type of plot full of random kills, gore splatter, and exploding guts is crazy fun, along with all the crude action throughout, especially the ferocious, Kill Bill-inspired, all-girl kitchen fight in the final act, not to mention Betty Gilpin absolutely kills it.

Friday, March 20, 2020

[4.00/10] Brahms: The Boy II (2020)

Brahms: The Boy II (2020)

Quick Review: It looks pretty 'okay' mostly due to the murky filters which creepify the tone, plus, it's always a pleasure to watch Holmes, even if she doesn't have much to work with here, dealing with an insipid script, but "Brahms: The Boy II" turns out to be an inferior sequel to a lackluster original, recycling a vastly overused 'creepy doll' concept with inevitably unsatisfying results, as it generates more dullness than fear, because of its corny plot, cheap scares, lack of tension, and silly ending.

Thursday, March 19, 2020

[4.50/10] Lucy in the Sky (2019)

Lucy in the Sky (2019)

Quick Review: More about Lucy's emotional breakdown on Earth, her ill ambitions and her fascination with space, not only "Lucy in the Sky" is a superficial character study which showcases its 'real life' protagonist as a hysterical and mentally wonky persona, nearly wasting Portman's talent and dedication, but it's also a senseless, muddled, underwhelming and painfully overlong experience of tedious melodrama with little to zero emotional gravitas and flat plot with no entertainment value.