Filmdrunk Reviews

Chadwick Boseman And Competent Camera Work Make ’21 Bridges’ A Delightful B-Movie Throwback
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‘Knives Out’ Is A Shockingly Intricate Whodunnit Filled With Wild Twists And Silly Accents
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‘The Report’ Is An Explosive Political Thriller About Exposing The CIA’s Torture Program
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‘Honey Boy’ Is Shia LaBeouf’s Intense And Mesmerizing Movie Memoir
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Netflix’s ‘The King’ Nails ‘Shakespearian Epic’ By Ditching Shakespearian Language
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Nic Cage Is Trapped On A Boat With A Terrorist And An Albino CGI Jaguar In His Latest Movie, ‘Primal’
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‘Terminator: Dark Fate’: The Good, The Bad, And The Indifferent
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‘Dolemite Is My Name’ Might Be The Perfect Netflix Movie, And The Ideal Eddie Murphy Comeback Vehicle
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‘The Laundromat’ Is Steven Soderbergh’s Relatable Failure To Recreate ‘The Big Short’
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‘Zombieland: Double Tap’ Is A Largely Joyless Collection Of Pop Culture Tropes
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‘The Lighthouse’ Is Exactly Like Being Trapped In A Lighthouse With Willem Dafoe
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‘Jojo Rabbit’ Is Little Too Cute By Half, But It Certainly Has Its Moments Of Inspired Absurdity
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A Brilliant Meditation On Class And Status, ‘Parasite’ Is One Of 2019’s Best Films
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The Only Thing Wrong With ‘Joker’ Is That It’s About The Joker
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‘Low Tide’ Is A Beautifully Shot, Compelling Coming-Of-Age Film Set At The Jersey Shore
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‘The Death Of Dick Long’ Might Be The Best Movie Of The Year
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‘Ad Astra’ Is A Majestic, But Frustrating Epic
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‘Rambo: Last Blood’ Is A Rollicking Good Time Of Hyper-Violent Xenophobic Revenge Fantasies
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