GOOK Review
Justin Chon's GOOK presents a consistent and well developed creative vision
Justin Chon's GOOK presents a consistent and well developed creative vision
Lea Pool’s film is a pleasing affair of little risk and even less payoff.
As the title of Bill Waterson’s comedy Dave Made a Maze suggests, Dave does indeed make a maze — and what a maze it is. Exploding with creativity, this quirky film about a slacker who creates a cardboard labyrinth in his apartment and subsequently gets himself and his friends lost inside is a ridiculously fun and absurd romp that had me chomping at the bit to uncover each and every unique room and passageway.
WHOSE STREETS? shows the organized and thoughtful resistance to a media narrative that wanted to dismiss the concerns of an oppressed population.
Far from revolutionizing, Creation (much as Wan's The Conjuring did initially to set off this series) refines the approach itself to the point where even the most telegraphed of scares never lose their jolting impact.
Set during the bloody Gwangju Uprising in South Korea in the Spring of 1980, Hun Jang’s A Taxi Driver delivers a powerful and heartbreaking, yet inspirational, true story framed within a Summer blockbuster.
Cut Shoot Kill is a cacophony of unfortunate acting, cringe-worthy dialogue and sub-par sound mixing that culminates into a thoroughly unenjoyable experience from beginning to end.
THE TRIP TO SPAIN doesn’t live up to the heart found in the other two.
On the film side of contemporary media about racism, Detroit doesn't stack up against any of its competitors.
WIND RIVER is a gripping murder mystery that unravels across stunning landscapes.
Fascinating only because of its flaccidness – both compared to its source material and in its rudimentary blockbuster construction – The Dark Tower stirs weariness instead of wonder.
68 KILL works because it’s as funny as it is bloody, and it’s very bloody.
A rare film that you're glad will be percolating in your head for days after you've watched.