Review: Men in Black International

by Tony Ruggio

Jettisoning all subtext of the original and heart of the third and formerly final movie, Men in Black International is definitely a step-down from the highs of this intermittent, long-running franchise. Chris Hemsworth and Tessa Thompson don’t enjoy nearly the same chemistry that sparked in Thor Ragnarok, their personalities clashing in a way that can best be described as awkward, and not the good kind with bumbling and sexual tension in tow. It’s all so rushed and Thompson’s arc leaves something to be desired.

And yet, I couldn’t help smiling through half of it...

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Mission Accomplished: Ranking the Mission Impossible Series

By Spencer Coile 

Anytime the latest entry in an action movie franchise is released, it is celebrated as 'the best' in the series. No film series has better exemplified this than the Mission Impossible franchise. What makes this series particularly special is that it set the standard for filmed reboots of classic television shows. It may not have been the first, but it certainly is the most consistent. Perhaps most importantly, it knows when to take a break. 

The release of Mission: Impossible – Fallout is a clever reminder in the age of comic book adaptations arriving every month that Ethan Hunt (Tom Cruise) will always be there to save the day. But how exactly has the series evolved over time? And is Fallout actually the best in the series thus far?

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Review: "The Snowman"

by Eric Blume

There aren’t words in the English language which can adequately describe how terrible The Snowman is.  Talented director Tomas Alfredson (Let the Right One In and Tinker, Tailor, Soldier, Spy) has let the press know that “10-15% of the screenplay” was never shot during principal photography, which certainly explains why nothing in the movie makes a shred of sense.  

The film might be about a detective (Michael Fassbender) who is partnering but not partnering with another detective (Rebecca Ferguson) to track someone who may or may not be a serial killer, the identity of whom may or may not be traced back to a prologue which is undeniably heavy-handed and portentous...

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Best Supporting Actress - April Foolish Oscar Predix

With so many of our favorite working actresses in key potential Oscar roles this year this season is either going to be tremendously exciting or crushing disappointing. 

Can Woody Harrelson & Naomi Watts get his & hers nominations as the "deeply dysfunctional" parents of THE GLASS CASTLE?

THE SUPPORTING ACTRESS CHART IS UP

Answer me these questions three:

• Who you think we're underestimating?
• Which performance on the chart are you most anxious to see?
• Do you think any of the 4 time nominees (Nicole Kidman, Julia Roberts, and Michelle Williams) move to 5 nominee status this year? 5 is actually such a major threshold that's really hard for people to break into. Only 29 women, if I'm counting correctly, have done it with Julianne Moore and Amy Adams being the most recent inductees to that exclusive club). With maybe 2 exceptions (Geraldine Page and Thelma Ritter)  everyone who's ever managed 5 has been a rather huge movie star of their day, certainly bigger than Michelle Williams is now for example. Not that she couldn't do it with The Greatest Showman if the part is good enough. Some working giants that are, like Kidman and Roberts, currently at four (acting) nods include: Bening, Lawrence, McDormand, Mirren, and Emma Thompson.

When "Life" Goes Wrong...

by Nathaniel R

Stop me if you've heard this one before: a group of scientists are tasked with bringing samples of life back from outer space. Soon they are trapped in a nightmarish monster movie, as the alien life force picks them off one by one.

Life, the latest monster movie set in space, does a lot of things right despite its familiarity. Let's give credit where it's due. It hired capable involving actors in all the underwritten roles including Jake Gyllenhaal who we'll follow anywhere, even into deep space for a Alien ripoff. It's very handsomely lensed by prestigious cinematographer Seamus McGarvey. The direction by Daniel Espinosa (Child 44, Safe House) makes repeated smart use of the zero gravity setting, with well staged setpieces and even some unexpectedly beautiful compositions; the earliest casualty among the crew prompts the movie's eeriest morbidly pretty image. Apart from one confusing action sequence near the climax, the filmmakers seem to have a complete handle on the material.

So why then, is it unsatisfying? 

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