The Goods: Film Reviews
Guillermo del Toro has finally dragged his dream project Frankenstein across the finish line, a decades-in-the-making adaptation that arrives with the weight of cinema prestige and awards expectations on its sewn-together shoulders.
I’ll never fully understand why some stylish, vibes-only movies capture the movie-geek zeitgeist while others get dumped at the curb.
I haven’t read any of Ruth Ware’s books, but my wife has, and she says they are all begging for adaptation.
You may remember The Bad Guys as DreamWorks Animation’s cross-species stab at introducing kids to heist movie tropes.
Out of all the films I’ve reviewed for The Goods, I’m not sure there’s a single one where my watching was more compromised than Barbarian.
I will indulge the metaphor that repeatedly clanked around my head as I watched F1
Sorry, Baby is an absolute miracle of tone control.
I am skeptical of platitudes hastily awarded to any film premiering on Netflix, but animated films especially.
On film social media, much virtual ink has been spilled anointing Eddington a future cult classic:
Celine Song was presumably given a pretty wide creative runway, plus access to budget and talent, to make her second film following the buzzy Best Picture nominee Past Lives.