Review: ‘Wicked: For Good’ is a Satisfying Conclusion

You either love Wicked or tolerate it. For the past two years, the phenomenon has dominated pop culture discussions in both positive and negative light (thanks to its stars Ariana Grande and Cynthia Erivo). Whatever one’s stance on the film, it’s impossible to deny the fervent emotional attachment fans hold towards the series—and rightfully so. The second part of the Wicked adaptation contains its most devastating and cathartic moments (whether its songs are better, is debatable). Likewise, its enduring run in theatres across the U.S. shows no signs of slowing down, so we’ll be seeing a lot of Wicked in the years to come. Let’s hope, though, that Jon M. Chu’s Wicked: For Good marks the end of its cinematic journey.   Continue reading “Review: ‘Wicked: For Good’ is a Satisfying Conclusion”

Review: ‘Bugonia’ Eclipses Its Source Material

Bugonia is the Ancient Greek belief that bees were generated from the corpses of cows. Like maggots or flies, bees would emerge from the bodies, and Ancient Grecians would perform rituals to spawn a miracle—rebirth through death. But the myth had its faults, and while some took it as fact, others saw the bees as flies that perhaps just looked a little yellow on the outside. In a sense, Bugonia, the film, offers audiences an absurdist take on what it means to be an evolving human amidst uncertain belief systems.   Continue reading “Review: ‘Bugonia’ Eclipses Its Source Material”

Review: ‘M3GAN 2.0’ Isn’t Fun the Second Time

When the first M3GAN hit theaters in 2023, it was hard not to get swept up in the hype. Its marketing was everywhere, and the film’s creepy, wisecracking doll instantly became a meme. It was fun to see people compare her to Chucky or even Furbies—there was a sense that we’d found a new pop-culture villain. But even so, I remember wishing the movie could be a bit more frightful, a bit less sanitized. That PG-13 rating was a straitjacket, keeping the movie from ever really letting loose. With M3GAN 2.0, not much has changed except now the novelty has begun to wear off.  Continue reading “Review: ‘M3GAN 2.0’ Isn’t Fun the Second Time”

Review: ‘Hurry Up Tomorrow’: The Death of The Weeknd

At the beginning of the year, Abel Tesfaye announced that he would be retiring his stage name ‘The Weeknd’ after the promotions of his album and companion film Hurry Up Tomorrow (directed by Trey Edward Shults). The Weeknd transitioned from the underground R&B scene to pop stardom with a string of hits off his 2015 album Beauty Behind the Madness: “Often,” “Can’t Feel My Face,” “Earned It,and “The Hills.” Since then, he has become an iconic figure in the music industry but somewhat of a joke in the sphere of film. HBO’s The Idol, a limited series starring Tesfaye and Lily-Rose Depp, debuted to abysmal ratings and was scorched online by fans and critics alike. Little has changed creatively since then, and Tesfaye is still grappling with a battle of self-indulgence. 

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Review: ‘Sinners’ Sinks its Fangs in History

Sinners is a rarity: a non-IP studio film that breaks through to a mass general audience, resulting in broad appeal and social media frenzy. Everyone is swarming theaters to see the R-rated phantasmagoria helmed by the accomplished Ryan Coogler, who many may recognize as the director of Marvel Studios’ first Black superhero film, Black Panther (and its sequel, Wakanda: Forever). The cast is stacked with new and familiar talent: Michael B. Jordan as the Smoke/Stack twins, Miles Caton (in his first film role) as Sammie, Hailee Steinfeld as Mary, Wunmi Mosaku as Annie, Jack OConnell as Remmick, Li Jun Li as Grace Chow, and more wonderful names. Coogler’s longtime collaborator, Ludwig Göransson, produces and composes the score for the film. Costume designer Ruth E. Carter and production designer Hannah Beachler also return to work with Coogler (all three previously won an Academy Award for their contribution to Black Panther). Don’t wash your sins away just yet; dance with the devil one more time this weekend with Sinners 

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Review: ‘Opus’ Impresses No One

The hype surrounding this movie stumbled into an abyss after its debut in cinemas last month. It’s quite a feat to make a film starring Ayo Edebiri and John Malkovich and achieve universal apathy within your audience. Filmmaker Mark Anthony Green manages to achieve just that with Opus.  

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Review: ‘Parthenope’: Beauty is Empty

Parthenope is beautiful to look at for some time, but it has nothing substantial to offer. Paulo Sorrentino’s newest film for A24 has flown under the radar since its lukewarm debut at the Cannes Film Festival on May 21, 2024, and now finally receives its US release. Led by Celeste Dalla Porta in the titular role, the film delivers an abysmal portrayal of the archetypal “siren” beauty. 

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Review: ‘The Gorge’ is a Steep Failure

Apple TV’s newest original, The Gorge, directed by Scott Derrickson, is a financial success, and audiences across the world made this film the service’s biggest premiere yet. With the beloved Anya Taylor-Joy and Miles Teller playing blooming lovers in a dystopic science-fiction tale, how could this film fail? 

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Review: ‘Companion’ is a Pleasurable Revenge-Filled Flick

Drew Hancock’s feature film debut, Companion, is sure to excite fans of Sophie Thatcher, who continues to make her mark in horror. Thatcher stars in Showtime’s Yellowjackets, made an appearance in last year’s MaXXXine, and starred in Heretic. Her charm is undeniable, and she kills it as the lead in Companion, a sex robot who evolves into an autonomous terminator on a mission. 

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Review: ‘Presence’: A Window Into the Other World

Steven Soderbergh’s (Kimi, Ocean’s Eleven) new film Presence, shot from the point of view of a ghost, inspires a new kind of suspense-thriller. Those familiar with Soderbergh’s modern auteur style won’t feel as if the cinematographic effects are gimmicky, but regular moviegoers may feel cheated out of a fine horror film experience. Starring Lucy Liu, Julia Fox, Chris Sullivan, Callina Liang, and Eddy Maday, Presence is not what you expect it to be. 

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