This documentary explores the universe of one of the last muleteer families in Colombia and follows the lives and mule train of two brothers, one forced by the illness of their mother to now live in the city, the other still living in their mountain house, as they get together for an epic mule driving journey to the highest peaks of the Andes. The title means inside the mountain and is a metaphor of today's rural life in Colombia.
Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.
Intergenerational friendships and community can be so powerful, and this was a great example.
Overall, Lee Cronin’s The Mummy is plagued by numerous flaws, both from a quality and from a diversity standpoint. The film relies on gore and loud sounds to drown out its flat script, flatter dialogue, and one-dimensional characters.
We all have our kinks and fetishes and what turns us on the most. Dog Lover details a serious (and at times unhealthy) look at a fetish that might go a little too far.
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.
Lindsay Lohan makes a big film comeback in this amazing holiday comedy of the year.
