Review: Annabelle Comes Home, 2019, dir. Gary Dauberman

She’s home! Annabelle, she’s home! That’s…that’s really not good, whose home did she come to? Yours? Mine? Hopefully yours. Sorry, I want to live. Continue reading →

Review: Aquaman, 2018, dir. James Wan

Preamble: Man, the DCEU movies are fucking bad. (Excepting Wonder Woman, which is good until it’s bad.) …okay, got that out of the way. Aquaman kinda rocks. Like Wonder Woman, Aquaman cradles its share of flaws and bad creative decisions, most of them involving the totally great Yahya Abdul-Mateen II, who deserves to be a big huge movie star and … Continue reading →

Review: The Commuter, 2017, dir. Jaume Collet-Serra

I never realized how incomplete my life was without a Liam Neeson actioner where he beats up a man with a guitar, that is until I saw The Commuter. The Commuter is the latest in Neeson’s mini-filmography of big, dumb action movies where he plays either regular dudes or super badass dudes (some of whom live their … Continue reading →

Review: The Conjuring 2, 2016, dir. James Wan

Everyone who hates The Conjuring should love The Conjuring 2; unlike the first film, the second doesn’t make a plot-based historical oopsie and suggest that maybe women killed during the Salem witch trials actually were witches. But if The Conjuring 2 is a victory for social criticism on paper, it’s a defeat for integrity in franchising in practice (such … Continue reading →

Review: Home Sweet Hell, 2015, dir. Anthony Burns

“Once upon a time, Katherine Heigl had movie stardom within her reach. Now, she’s the lead on NBC’s State of Affairs following a string of commercial duds in the early 2010s. There’s a whole article to be penned about Heigl’s rise and fall in Hollywood since online backlash first put her in the pillory in 2007 … Continue reading →

Review: Insidious, 2011, dir. James Wan

Insidious can be described as “two-thirds of a great film”, which damns it far more than a purely negative critique ever could. Coming from the co-creator of the Saw franchise James Wan’s fourth film is scary in a way that most contemporary horror pictures are not, either by consequence or by design; it’s cinema that … Continue reading →