The Obsessive Viewer

Backed by data, archival footage, and filled with vibrantly animated visual aids, All In gives the viewer the knowledge needed for its call to action to fight voter suppression while also being eye-opening to the rampant practices occurring today.

Love, Guaranteed doesn’t feel as tepid as you might expect from its formulaic approach. The film has a fair amount of charm that makes for a sweet and inoffensive way to spend 90 minutes headlined by two pleasant actors with plenty of chemistry. To that end, Love, Guaranteed serves a distinct purpose and sometimes that’s all we need in the art we consume.

Through its unique narrative effect, I’m Thinking of Ending Things creates an abstract tapestry of human relationships that runs the gamut from the darkest corners of romantic encounters to the most idealistic and fantastical movielike romances. The result is a relentless descent into multiple facets of human relationships that proves to be gripping from the word go and does not let up.

Son of Kong’s light-hearted tone, while enjoyable, does little to elevate the weak script. Little Kong’s action sequences do get the job done fairly well. Ultimately though, the lack of substance to the storyline of this sequel is its downfall. You’ll find little to latch onto and even with a short runtime (an hour and ten minutes), the lack of a clear plot drags the movie to a crawl. There are more complete monster movies available. Son of Kong leaves little to admire.

Tesla doesn’t seem to know what kind of biopic it wants to be. On one hand, it attempts the recent trend of having a character break the 4th wall to infuse cheap modern humor into an otherwise stuffy narrative. And on the other hand, well, it’s a stuffy narrative about the trials of tribulations of Nikola Tesla. Unfortunately, the film is a dud on both of those fronts. It leaves its audience with a dull, lifeless recounting of Tesla’s life that doesn’t seem too concerned about or focused on much of its subject. Meanwhile, the humor feels forced and falls flat every time.

King Kong maintains itself as a strong early example of both an adventure film and a monster spectacle picture. Though the effects are as dated as one would expect from a film from its era, there’s more substance to King Kong than meets the eye.