The Contractor's critique of military work and veteran support filters through a commendable if bland thriller.
Author: Matt Paprocki
Matt Paprocki has critiqued home media and video games for 20 years across outlets like Washington Post, Variety, Rolling Stone, Forbes, IGN, Playboy, Polygon, Ars, and others. His current passion project is the technically minded DoBlu.com. You can follow Matt's body of work via his personal WordPress blog, and follow him on Twitter @Matt_Paprocki.
Tense and unforgiving, For a Few Dollars More is in a constant state of distrust amid a persistent sense of Hollywood cool.
Elegantly violent but truthfully pure about America's western cinema, A Fistful of Dollars defined the genre's export and change in perspective.
While energetic, Hero's dated (if influential) new wave style clumsily tells a story of Hong Kong's independence.
The Untouchables is a pure Hollywood example of "print the legend," willing to engage in old time, violent justice to make heroes from bogus laws.
Sloppy and unfocused, Lifeforce's hybrid of British sci-fi and horror finds its best when being outlandishly visual.
The Trouble with Harry drips with careful innuendo, polite dark humor, yet no genuine mystery and still feels every bit of Alfred Hitchcok's personality.
While successful in mood and style, The Batman's stuffy, overwrought runtime doesn't feel necessary or useful to this unique take on the character.
Well translated from the source videogames, Uncharted is perfectly forgettable entertainment that if nothing else, exposes the material's limitations for storytelling.
The Craft is a work of pure '90s teen rebellion, concentrated in Goth culture, saved by the stellar cast.
An early take on a "geeks inherit the earth" story, True Romance turns its movie-adoring hero into a character in a pure Hollywood thriller.
Umma makes a strong metaphor for the anxiety of motherhood, but it's a tepid dud as a horror movie.