Movie reviews of Hope Madden

Because Mortal Kombat is a big, dumb movie. So big and so dumb. And so much gory stupid fun, I just might watch it again. Review

Boys from County Hell is a horror/comedy, but it’s rarely laugh-out-loud funny. It’s actually a good deal more tender in its own endearingly bull-headed way, with a narrative more focused on the father/son dynamic than on coming of age or bloodshed. Review

For longtime Wheatley fans, In the Earth feels like a return to form – or at least a step in that direction. It delivers a couple of good wallops, too. It’s no Kill List, though. Review

The Banishing looks and feels unlike anything else Christopher Smith’s done. Too bad it feels so much like what everyone else has. Review

Science fiction tends to be heavily allegorical and heavily borrowed—Voyagers is certainly both of these. Although the execution feels a bit like a neutered version of Claire Denis’s brilliant 2018 cosmic horror High Life, the story itself looks to the distant future to illustrate our present (and very, very recent past). Review

Faviere’s take on the situation is even-handed. She never stoops to melodrama, never paints Lyz as a faultless innocent. The character’s complexities, particularly given Abita’s assured performance, only ensure that the film leaves more of a mark. Review

Wonderful performances throughout elevate story tropes that could get old, and the filmmaker’s instincts for using light, shadow and reflection give the film an eerie quality that’s hard to shake. Review

Funny Face, though, marks a step toward something more stylish. The film has a retro vibe, like a long-lost Seventies indie set in Brooklyn. Given the of-the-moment storyline, this offers his film the timeless quality of a fairy tale—a theme he develops with imagery of equal parts urban realism and magical whimsy. Review

It’s not enough to ruin the effort, but it’s enough to keep Six Minutes to Midnight from leaving a lasting impression. Review

Not everything lives up to that first shock, but the next 80ish minutes of Making Monsters are worth a watch. Review

Regardless of the fact that you’ve seen this exact movie a dozen times, you just don’t expect it. It’s great! Review

Powerful, inflammatory, sexually explicit and unmistakably challenging, the work itself looms large in the documentary as if to ensure that it reaches out to as many as possible who forgot, never knew, or may have been kept from it. Review

There is nothing wrong with The Courier. It’s well made and informative. Which is to say, it’s kind of a waste of a great cast and an even better story. Review

Sehar Bhojani steals every scene as the cynical Shruti, but the jeans are the real stars here. Kephart finds endlessly entertaining ways to sic them on unsuspecting wearers. Review

Come True leaves you feeling massively let down, which is truly unfortunate after so much investment in a world this well built. Review

There is a perfectly middle-of-the-road romantic dramedy here somewhere. You may enjoy it, assuming you can get past the tangle of convenient plot twists and you don’t wince at the device of an autistic character teaching the real lessons. Review

It’s a powerful look at generational, religious and cultural fractures. It’s a beautifully written and executed reworking of an all-time classic. Review

They’re weird. They’re delightfully unpredictable. They’d grow tiresome, but they’re all so short. Review

Son does boast solid performances, and the filmmaker once again flexes his strong instincts for unsettling locations and atmospheres. The writing, pacing, and imagery all work together as they should to generate anxiety and dread. Son gets gory now and again, too. Review

It’s an often fascinating deconstruction of a particular subgenre of horror, an approach that usually benefits from the verité style. But too much of the loose narrative feels like filler. We watch Katie buckle her seat belt no fewer than five times. Review

The story, by Brigsby Bear writer Kevin Costello, is over-stuffed and under-enjoyable. He mistakes idiocy for lunacy, busy for kinetic. A lot happens, none of it interesting, none of it funny, all of it surrounded by a bombastic soundtrack. Review

Cherry clocks in at a hefty 2:20 and it feels for all the world like the Russos and their writers simply didn’t know how or where to cut Walker’s story down. The movie lacks focus. Review

It’s a solid effort, one that reframes a story you’re used to in a way that gives it more depth and emotional power. Review

A trimmer runtime might have helped the film leave more of a mark. Instead, Wrong Turn is a decent if unremarkable backwoods thriller. Review