Parasite - Review

Every so often, a film comes along that feels different, that feels special, that feels important. For 2019, no film earns that distinction more than Parasite. From the second the film starts to the moment the credits start to roll, the beautifully blended mix of commentary, humor, and dread crafted by director Bong Joon-ho is as entertaining as it is insightful in a near infinite number of ways.

Harriet - Review

The fact that a Harriet Tubman biopic hasn’t existed before the year 2019 is astounding. Her story is remarkable, she remains a celebrated figure, even getting a spot on the $20 bill at some point, yet no movie with Harriet Tubman as the central character exists. Part of the issue lies in Hollywood’s resistance to not only female led ventures, but to black female led ventures almost entirely. But something has changed, and now the world has Harriet, the long-overdue look at the life of one of America’s most important and influential women.

Jojo Rabbit - Review

An anti-hate satire. A tagline that seeks to alleviate the potential backlash before it ever starts, a strategy that’s only been slightly successful in the lead up to its release. The concerns are certainly valid, as in the wrong hands, Jojo Rabbit could go south very fast. Fortunately, Taika Waititi is at the helm. And a Taika Waititi helmed satire is a must see, but a Taika Waititi satire that makes fun of Nazis just might be the thing that 2019 needs.

The Lighthouse - Review

When Robert Eggers unleashed The VVitch on the world in 2015, it marked the introduction of a fresh, weird, and historically accurate voice to horror. Where that film found its terror in the historical implications of a witch in the 1600s New England setting, The Lighthouse focuses in on fear of isolation and the psychosis of superstitious men on a rock in the middle of the sea. And boy, does it get bizarre in all the best ways.

Zombieland: Double Tap - Review

Zombieland, much to everyone’s shock in 2009, somehow managed to not be a complete disaster in the face of such overwhelming odds. An original, funny, and clever zomcom came from something that had no business working, and now ten years later, the sequel looks to do the exact same thing. The cast returns for a new adventure in the world of flesh eating undead, and the results are not quite as impressive as before.

Dolemite Is My Name - Review

It’s been a long time since Eddie Murphy has been at the center of a successful endeavor. Outside of a handful of voice acting gigs related to the Shrek franchise, Murphy’s filmography since 2006 is full of misfires and ill-advised attempts at comedy. But now he’s back, in every sense of the word, to bring audiences the tale of Rudy Ray Moore, and with any luck, get back into the awards conversation.

Maleficent: Mistress of Evil - Review

Five years after Maleficent became a bona fide hit at the box office, along with mixed reception from critics, the sequel is finally hitting theaters. Of all the Disney live-action remakes, Maleficent took the most risks, challenged the shortcomings of the original, and tried something relatively new with an established property, leaving the sequel plenty of room to grow. However, just having a fascinating central figure hardly makes a great sequel, and unfortunately, Maleficent: Mistress of Evil doesn’t recognize this simple fact.

Joker - Review

Since the film debuted a few short weeks ago across the Atlantic, Joker has been the subject of numerous debates and conversations about the insensitive nature of the film, or the oversensitive modern viewers, depending on which side you fall on. Questions of message and real life implications are not new to films with evil characters at the forefront, it might as well be a guarantee these days, but in those instances, the films actually felt like they had something worthwhile to say.