The King of Staten Island opens with Pete Davidson, playing a semi-autobiographical version of himself, contemplating suicide behind the wheel of a car.
Although the plot features some very slow decision making at times, there’s a certain atmosphere built that makes The Blob so undeniably appealing.
Da 5 Bloods is an interesting package, offering compelling food for thought but never offers any definitive outlook for these characters or the film’s underlying message—mostly because it tries to cover too much political ground at once.
In order to even remotely enjoy 1922’s silent classic Nosferatu, you must nearly suppress any and all horror expectations.
Overall, Basic Instinct is a fantastic thriller, captivating us at every turn.
But for a 60-year-old teen movie, Where the Boys Are only feels dated a few times. Overall, it knows what it’s doing.
Hard Eight is the type of movie where the plot doesn’t really matter. We stay fully engaged because of the intriguing characters and the vibrant, compelling dialogue.
The trick to appreciating A Clockwork Orange is to not see Alex as the protagonist. He’s simply a means to help tell the story. The protagonist here is free will.
Murder Mystery isn’t without its missteps, but despite the bumpy script, the details of the mystery itself are well-tailored and pretty unique.
The Virgin Suicides isn’t about the girls and why they killed themselves necessarily, so much as it’s about the concept of nostalgia.