Johnson sends up the murder mystery genre with a cast as dedicated to honouring it as it is to bring humour to it.
What I find interesting is how this sequel revives the series without only servicing diehard fans. It’s engaging and feels back to form.
The Report spends almost two hours exposing the unjustness of the American democracy with the same surgical eye of a WSJ investigator.
The serious racing film subgenre is overlooked to an almost criminal degree, and I’m not even a car person.
It tries to make important moral points about responsibility, but neither of them are important enough to have weight, nor do they connect with any of the metaphors presented – of which, I believe, there are none.
There is nothing new to explore on the concept of Zombieland, so the film treats this instalment like we’re catching up on an episode of our favourite show.
It’s a classic film about sexuality, social security and financial inequality, but transforms it into a film about the struggles of these individuals and how they “take back” from people who are part of a system that effectively financially ruined a nation.
There’s lots to like about Ready Or Not.
Set in a sort of idealised Ye Olde Europe, Judy & Punch re-imagines the original characters as the artists behind the original puppet show.
And for her sophomore effort, Jennifer Kent went for the jugular.