Movie reviews of Hope Madden

There is a resignation that feels unearned, even contemptuous. But actions throughout are believable enough, each couple’s interactions authentic enough, and the tensions palpable enough to forgive slight lapses. Speak No Evil is a grim trip, but there is no question that it’s well made. Review

The story builds effectively enough. It’s just that nothing is ever in question. The genre tropes are more threadbare from use than LaBute’s banter-driven power game. Worse, the point rings hollow, like a disingenuous, cash-grab reversal of In the Company of Men. Review

It’s not style over substance, although the style does draw attention away from the film’s weaker elements. Instead, it’s the calling card of a filmmaker leaving his mark on genre filmmaking. Review

The whole movie’s an inside joke, but if you’re on the inside, it’s bound to draw a smile. More than that, if you’re a Kevin Smith fan, Clerks III is a sincere mash note to you. Review

What starts off as a bit of fun at commodified religion’s expense turns into a surprisingly layered and cynical investigation into the damage organized religion of any kind can have, especially on those who believe. Review

Parker’s spare use of violence ensures that it makes an impression when it does show up. The story frame works less well. Plus, I wanted real werewolves. But still, Burial is an effective piece of historical fiction. Review

A tight script wastes little time and manages to surprise even if you figure out the main mysteries early. Who Invited Them isn’t flawless, but it is an anxious bit of fun. Review

It’s not a masterpiece and it falls into some old-school storytelling traps, but Three Thousand Years of Longing offers much originality and two undeniable performances. Review

For a film trapped primarily in a single space, Breaking creates something tragically universal, but it never betrays its hard-won intimacy. Review

Firstly, he turns genre tropes on end by bringing a Black family to Africa and having their white guide be their wise mentor. Beyond that, there are not a lot of surprises, just a competent if uninspired adventure thriller in which Idris Elba fights a lion. Review

The film is no masterpiece and Fuhrman’s age does take you out of the fantasy now and again. But it is sly fun. Review

On display with unblinking eye is the casual brutality of childhood. The Innocents is a film that sneaks up on you, rattles you, and sticks around for a while after the credits roll. Review

They Look Like People possessed a deceptively loose narrative that, in fact, led inevitably to one of the tensest climaxes on record. When I Consume You feels like it’s trying to obscure its far more obvious framework. Review

Emily the Criminal delivers the realistic inverse to a Tarantino or Scorsese. There’s no glamour to the criminal life. It’s a gig. And sometimes you gotta take the gig. Review

Shave half an hour off this film and you have yourself a brisk, dizzying effort worth a trip to the cinema. Review

I’m not sure all the clues are here to help make the determination for What Josiah Saw, but even without proper closure, Grashaw paints a creepy picture. Review

You will squirm and look away long before the film’s bloody climax because watching Margaret come undone is traumatizing. Semans’s wrap-up is not as successful, but the damage his film does can’t be undone. Review

There’s a lot going on with not much really happening. It looks good, not exceptional. It’s fun and almost immediately forgettable. It does expose the diabolical side of the Guinea pig, though. Fear them! Review

Rich with symbolism that brings past to present and reinterprets it for the future, the film speaks of resilience and power. And it does it like no film you’ve seen before. Review

American Carnage looks good and performances are solid, but the movie can’t overcome those tonal shifts. Review

While frustrating, it’s not enough to sink a film that submerges you in a dark family tragedy and leaves you stranded. Review

The film throws a lot at you and not all of it hits, but Stalba’s central performance jibes perfectly with the weird concept to create a show that, quite honestly, I’m sorry I can’t watch every Saturday morning. Review

Rather than making a film about the day-to-day oppression, trauma, bigotry and danger facing a trans teen, Porter and García Lecuona turn our attention to the universal dramas of being a teenager in Pittsburgh. That may not feel groundbreaking or even necessary, but it absolutely is. Review

Van der Velden shows keen instincts for allowing his tale to unravel in its own time. Close attention to detail allows a rich understanding of the story Moloch tells. Whether you devote that kind of attention to the film or not, Moloch gets its point across. Review