Filmdrunk Reviews

Liam Neeson’s ‘The Marksman’ Is A Kinder, Gentler Version Of ‘Taken’
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‘Some Kind Of Heaven’ Is A Perfect Documentary
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‘Pieces Of A Woman’ Rubs Our Noses In Grief, With A Side Of Shia LaBeouf
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Be Careful What You Wish For: ‘Wonder Woman 1984’ Is Not Dark Or Gritty, For Better Or Worse
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George Clooney’s ‘The Midnight Sky’ Is A Fine Space Movie And We’re Lucky To Have It
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Tom Hanks Plays Woke John Wayne In ‘News Of The World’
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Hilary Swank Plays A Vegas Hook-Up Gone Wrong In The Wildly Eventful ‘Fatale’
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Was Ted Bundy Born To Be A Killer Or Made Into One? Alex Gibney’s New Doc Sheds New Light On The Subject
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‘Hillbilly Elegy’ Is A Dour Sizzle Reel Of Poverty’s Horrors
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Mel Gibson Plays A Grizzled, Down-On-His-Luck Santa Claus In The Oddly Tedious ‘Fatman’
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Kevin Costner And Diane Lane Reteam For ‘Let Him Go,’ In Which ‘Taken’ Meets A Viagra Ad
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I Couldn’t Cryogenically Freeze Myself Until After The Election, So I Saw ‘Tenet’ In A Theater Instead
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‘The Craft: Legacy’ Is Deliciously Obnoxious Horror Kitsch, But Ends Just When It Starts To Heat Up
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In ‘Borat Subsequent Moviefilm,’ The ‘Victims’ Have Become The Performers
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Bill Murray Almost Carries ‘On The Rocks,’ Sofia Coppola’s Tale Of Rich People Behaving Blandly
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Miami Screwed The World In 2000: ‘537 Votes’ Caps Off Billy Corben’s Career Documenting ‘Florida F*ckery’
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Robert De Niro’s ‘The War With Grandpa’ Is No ‘Raging Bull,’ Obviously
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‘Charm City Kings’ Is ’12 O’Clock Boys’ Meets ‘Bronx Tale’ With A Star Turn From Meek Mill
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