Talented as a child but completely lost in her thirties, Vasya suddenly realizes she's heading for rock bottom and has no strength to escape. Malvina, an imaginary friend from childhood, comes to his aid, a freakish woman with purple hair and a quirky sense of humor. Malvina pushes Vasya to find her childhood love, Stasik. Vasya will go through a long journey and understand what went wrong in her life, but most importantly, she will learn why Malvina appeared.
Even now, the well-established Snyder has yet to learn this as he continues to allow misguided decisions to convince him that his projects hold the same kind of intelligent and emotional weight. Army of the Dead is a tonal mess, one that never decides what it’s trying to be, and, for all we know, doesn’t want to decide.
Despite the film’s efforts to reframe its heroine with modern complexity, a certain emotional distance lingers.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
The Brazilian filmmaker Alexandre Alonso’s Hunter is a film with a lot of ideas, but with very little holding those ideas together.
The 92nd Academy Awards had many strong contenders for best animated short. But which Oscar nominated short wins for diversity and inclusion?
After years of mediocrity, Thunderbolts* is the welcome change MCU fans were waiting for.
