The Out-Laws
The Out-Laws is a largely forgettable comedy that squanders the potential of its talented cast with a weak script and uninspired direction. It’s fine for a bit of light entertainment, but don’t expect anything more than a few chuckles and a lot of missed opportunities. Netflix might benefit from focusing on quality over quantity, as films like this only serve to highlight the growing disparity between the two.
Fatal Attraction
Through the modern lens of today’s culture, many film and television classics from past decades are getting the revisionist treatment. This time around, Paramount + is ditching the familiar film format and offering a series take on the 1987 Glenn Close-starring Fatal Attraction.
Beau Is Afraid
Beau may be afraid, but not as afraid as I am to try and create a coherent review for this 3-hour surrealist anxiety attack, simply named Beau Is Afraid.
To Catch A Killer
Undoubtedly Fincher-lite, Damián Szifron’s horrendously titled new movie, To Catch a Killer, is a sometimes thrilling and unpredictable crime procedural with a lot on its mind.
Guy Ritchie’s The Covenant
Guy Ritchie’s The Covenant may not be the crowning achievement in tonal shift Ritchie was looking to accomplish, but it is by far a more mature and toned-down piece of filmmaking.
Rare Objects
Fortunately, mental health and addiction are serious subjects that are being more commonly discussed throughout society and, in turn, throughout media.
Mafia Mamma
Surprisingly slapstick, the new Toni Collette vehicle Mafia Mamma is significantly goofy, and if you’re on board with that, can be a really good time.