Author: Hunter Friesen

“Death of a Unicorn” mixes dark humor and social critique, but its familiar plot and flat characters fail to resonate.

Disney’s live-action “Snow White” features Rachel Zegler’s standout performance but struggles with animation, casting, and direction in a mixed adaptation.

Steven Soderbergh’s “Black Bag” redefines the spy thriller, exploring deception, loyalty, and Michael Fassbender’s tense pursuit of a traitor within British intelligence.

Bong Joon-ho revisits corporate satire in “Mickey 17,” but its broad strokes and familiar themes lack the sharpness of “Okja.”

“The Gorge” on Apple TV+ delivers a suspenseful thriller with strong performances, though its storyline feels familiar and predictable.

Oz Perkins’ “The Monkey” struggles to balance horror and comedy, delivering tedious suspense and lackluster scares despite Theo James’ strong performance.

“Captain America: Brave New World” delivers a serviceable yet forgettable MCU entry, with reshoots, political intrigue, and familiar superhero dilemmas.

“Love Hurts,” starring Ke Huy Quan, offers a familiar plot with lackluster action and strained performances, failing to impress.

The further “The Brutalist” progresses along its 215-minute track, the more evident it becomes that co-writer/director Brady Corbet sees himself in his protagonist, László Toth (Adrien Brody), the overlooked genius who seeks to reform modern architecture away from its ugly preconceptions and must put himself through the wringer to prove the doubters. A later scene sees Toth introducing the design for his wildly ambitious project, a sort of shrine to a capitalist’s deceased mother. It’s going to house a worship center, gymnasium, library, auditorium and several pathways lined with marble and concrete. There’s never been anything like it, which is…

RaMell Ross’s “Nickel Boys” reimagines storytelling with its innovative perspective, exploring systemic injustice through an emotionally powerful cinematic lens.