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'Beyond Skyline' is a fun, ambitious sequel that doesn’t even require you to watch the awful original.
'Sixty Minutes to Midnight' uses its inspiration to help get you in the mood for what it’s about to lay down, but then has enough tricks up its sleeve to feel wholly its own.
It's easy to just enjoy the ride of 'Mom and Dad,' but there's an uneasy feeling at the center of the film that makes it occasionally difficult to wrestle with.
'Three Billboards' takes itself to Hell and back in order to present a textured portrayal of grief and culpability in a small community.
'Bodied' is an important film, but a deeply flawed one.
Making someone want to watch a bad movie is what makes 'The Disaster Artist' such a great telling of a preposterous real-life story.
Great performances make it hard not to at least like 'Breathe,' but they're in service of comfort food for period piece fans that will unfortunately do nothing for those outside of that audience.
'The Florida Project' is unflinching at times, and one of the best films of the year.
There are few moments in Baby Driver where the titular character, Baby (Ansel Elgort), ever really has to "face the music." He’s young, fast, and has a lot of music to drive alongside, which is why it not only comes as a shock, but also as a fitting closure to Baby’s arc, that the final act of the film revolves exclusively around facing consequences.