Filmdrunk Reviews

‘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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‘Hustlers’ Is ‘Goodfellas’ In G-Strings, And J.Lo Is Perfect In It

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John Travolta Becomes The New Nic Cage In Fred Durst’s Tragically Watchable ‘The Fanatic’

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The Ridiculousness Of ‘IT Chapter Two’ Is Its Soul

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In ‘Ready Or Not,’ Wealth Is A Birthright, A Curse, And A Kink — The Horror Counterpart To ‘Succession’

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‘Angel Has Fallen’ Could Benefit From Less Shaky Cam And More Skull-Stabbing

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‘Hobbs & Shaw’ Is Another Glorious Celebration Of Absurd Excess

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‘Once Upon A Time In Hollywood’ Is Tarantino’s (Anti-Hippie) Ode To The ’60s, And We’re Happy To Take The Ride

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Disney’s New ‘The Lion King’ Is A Weird Movie From Top To Bottom

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‘The Art Of Self-Defense’ Is An Off-Beat, Awkward Riff On Toxic Masculinity

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‘Yesterday’ Is A Profoundly Terrible Waste Of A Great Premise

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‘Midsommar’ Is A Wild And Wooly Masterpiece

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‘Child’s Play’ Is Funny And Gory But Misses A Golden Opportunity To Be Relevant

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‘Toy Story 4’ Is A Deliciously Dark Romp About Toys That Yearn For Death’s Cold Embrace

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If Nothing Else, ‘Shaft’ Proves That Samuel L. Jackson Is A National Treasure

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‘The Dead Don’t Die’ Is A Vapid, Meandering Zombie Flick That’s More Celebrity Photo Shoot Than It Is Film

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‘Dark Phoenix’ And The Basic Question Every Superhero Script Must Answer

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