Tag Archives: 2018

Thunder Road (2018)

I was a big fan of the original short this is based on so I’m very happy to report that Jim Cummings lives up to the promise of those initial twelve minutes and then some. A perfectly pitched cringe comedy featuring some … Continue reading

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Set It Up (2018)

A delightfully old-school rom-com amplified by its quartet of charming and attractive leads and knowing screenplay. The fact it feels so bright and sitcommy keeps reminding you this was made for Netflix and not a proper big screen, but the … Continue reading

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Mandy (2018)

A psychotronic potion so committed to its own combination of high/low/trash/art aesthetics, it’s no wonder us carnivorous cinephiles eat this up like a hallucinogen-tinged three course dinner. Cosmatos’ loyalty to his own metronomic sense of drone pacing might turn a … Continue reading

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Slice (2018)

Slice attempts to draw a high-concept universe that never really comes together. It feels indebted to EC comics as much as it does 80s horror-comedies like Ghostbusters which it cribs from freely. Weirdly though, it has a very cheap aesthetic with make-up effects … Continue reading

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Sicario: Day of the Soldado (2018)

Nowhere near as classy or as deliberately shot as the first Sicario, which had a visual elegance to offset any iffy screenplay quibbles. In fact, that very style led it to being at the top of my favourite movies of 2015. Day … Continue reading

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Mosaic (2018)

For Soderbergh nuts like myself I suppose the main thrill of Mosaic (which I saw in its episodic version and not through the intended app) is seeing how he stages, blocks and edits scenes to fit the hectic shooting schedule. Yes it’s … Continue reading

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Ready Player One (2018)

The Spielberg this most reminds me of is 1941. Like that film it’s absolutely choc-a-bloc with visual information and infinite content to the point where you just end up glazing over and unplugging from the action, barely engaging with it beyond … Continue reading

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Mom and Dad (2018)

Being that this is directed by one half of the Neveldine/Taylor dynamic duo, it’s not surprising to find that Mom and Dadfeels like a Neveldine/Taylor sensory attack, just one that lands only half the damage. It’s fine though! The film’s primary … Continue reading

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Mute (2018)

To echo a lot of the other criticisms (and in fact criticisms dating all the way back to early script reviews), Mute‘s neon-junk sci-fi setting never feels totally necessary to the plot or themes, but then again there’s no valid … Continue reading

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Golden Exits (2018)

Another unmistakeable entry into the Alex Ross Perry canon aka “The Ongoing Dramas of Upper Class Assholes”. Perry mounts a mass ensemble but avoids an Altman-like sprawl by cleverly having them all pivot around Emily Browning’s Naomi. It’s a collage … Continue reading

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