ScreenSpotLight Blog

Knives Out is all steak and no sizzle. Nevertheless, it is advertised as some brilliant murder-mystery picture that is unrivaled. Appropriately, in our review of Daniel Craig’s miraculous Oscar contender, our metaphorical long knives are drawn. Knives Out is boring, prodding, fairly predictable, and is only slight scandalous enough to provoke a full viewing. Were this movie not likely to be talked about as one of 2019’s finest, I would never have viewed the screener, nor would I have tolerated its gobbledygook. Knives Out achieves its primary goals, and for that is deserves credit (Bad Credit. Zing!). Daniel Craig is supposed

Netflix's A Marriage Story is not mere Hollywood fiction. The story is not embellished. It is not intended to shock people that are happily married or to placate those who have been through a divorce. A Marriage Story is an accurate portrayal (and perhaps even underplayed at times) of divorce. Adam Driver and Scarlett Johansson could not appear to be more different people with dissimilar ambitions, opinions, goals, moral and values. Adam Driver and Scarlett Johansson in Netflix's A Marriage Story   Adam Driver is supreme in A Marriage Story, and thankfully, all of his awkwardness and unique likeability is teased out by

Netflix The Irishman Movie Review written by Jonathan Jacobs. Netflix’s The Irishman seeks to resurrect ghosts from yesteryear. Sadly, those ghosts, though resurrected in spirit, are mere specters of a long-gone heyday. Bringing together the big three of gangster and mafia movies and placing them under the umbrella of their lord and commander Marty Scorsese, seemed in principle like a spectacular idea. Unfortunately, the tires may be retreaded on this genre celebrating gangsterism but only in part. Devoid of originality, and a copy of a copy of a copy, ad nauseum (dealer's choice here), The Irishman is nothing more than

F the Prom on Netflix F the Prom on Netflix is never going to win any awards, but it is surprisingly realistic for this time period. Perhaps if the critics levelling every fiber of F the Prom were younger or more in touch with the current, post-millennial generation, they would have a greater appreciation for the film. F the Prom is about a modern trend, and a positive modern trend at that.   Nowadays, kids that once upon a time were categorizable as loners or social outcasts, often band (no musical pun intended) together to form their own cliques, inclusive cliques that do

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