Hollywood

The Holdovers is more than a funny, dark, heartwarming holiday treat. It's a warm hug to teachers everywhere and how they shape our childhoods (as well as our futures) for good. And who doesn't need a hug this time of year?

Thanks to David Fincher's thoughtful and cerebral direction, this film is less of an explosive action romp and more of a plaintive psychological examination of a man trying to do his job and trying to keep his head. The Killer isn't amazing or new but it's entertaining.

Because this film tries to lead viewers through so many different emotional hoops in a one hour and 43 minute run-time, What Happens Later is not emotionally engaging at all. It's also not emotionally realistic or creative.

We should all be thankful this chapter of 20th century America has made it to the big screen. I thought this film tells its story expertly, and I hope many more people make the time to see it.

The Burial is not a disaster, but it is a disappointment trying too hard to cover too many topics and clumsily mixing lighthearted humor and serious drama.

The acting is solid, the story is only predictable toward the end and the cinematography is hypnotically heart-stopping. The visionary style of The Creator obviously brings to mind the look of past sci-fi gems 2001: A Space Odyssey, Blade Runner, and Blade Runner 2049.

Is A Haunting in Venice one of the best films I've seen this year? No. But it remains mostly entertaining and is a great improvement from Director Branagh's previous two Christie adaptations.

Inside is not a psychological thriller but is more a psychological study on humanity and our constant needs to build or destroy, to read stories or write them, to consume or to explore. The pieces of contemporary art are shot beautifully in this film, but it could be more exciting and more interesting if it didn't spend so much time trying to be such an austere, psychological daydream.

This nihilist bent on the teen comedy feels so fresh, so crazy, and so aggressively energetic, it will delight many comedy lovers (especially dark comedy lovers.) Bottoms is a cringey, unpredictable addition to the growing wave of mainstream queer cinema that began last summer with the films Fire Island and Bros. I'm hoping this wave keeps gaining height.

A few artsy elements, with visual metaphors of dead birds and engulfing smoke, add some thoughtful style to this biopic. But I'm sad this one doesn't have enough fire to grab viewers' attention. Golda reminds me at least some creative license from the director is important, no matter what real-life story is being told.