January 18, 2020 Grim D. Reaper

Review: ‘The Farewell’ (a tradition of deception)

January 13, 2020January 13, 2020 Grim D. Reaper

Review: ‘Parasite’ (the power of invisibility)

December 27, 2019 Grim D. Reaper

Review: ‘Uncut Gems’ (the imperfect score)

December 26, 2019 Grim D. Reaper

Review: ‘Little Women’ (the Gerwig adaptation)

December 25, 2019 Grim D. Reaper

Review: ‘1917’ (technical achievement unlocked)

December 25, 2019December 26, 2019 Grim D. Reaper

Review: ‘Bombshell’ (weaponized superficiality)

December 24, 2019 Grim D. Reaper

Review: ‘Cats’ (overcomplicating simplicity)

December 24, 2019 Grim D. Reaper

Review: ‘Harriet’ (be free or die)

December 19, 2019December 24, 2019 Grim D. Reaper

Review: ‘Star Wars: The Rise of Skywalker’ (everything old is Abrams again)

December 18, 2019 Grim D. Reaper

Review: ‘Knives Out’ (a who’s-who whodunit)

December 14, 2019December 15, 2019 Grim D. Reaper

Review: ‘Black Christmas’ 2019 (all in the trailer)

December 11, 2019 Grim D. Reaper

Review: ‘The Lighthouse’ (a tale of two wickies)

December 9, 2019December 9, 2019 Grim D. Reaper

Review: ‘Jojo Rabbit’ (your Reich is calling)

December 8, 2019 Grim D. Reaper

Review: ‘Dark Waters’ (self-regulated reprobates)

December 7, 2019 Grim D. Reaper

Review: ‘The Irishman’ (Marty’s Greatest Hits)

December 7, 2019 Grim D. Reaper

Review: ‘Charlie’s Angels’ 2019 (half-throttle)

December 7, 2019 Grim D. Reaper

Review: ‘Maleficent: Mistress of Evil’ (lost in translation)

November 24, 2019 Grim D. Reaper

Review: ‘Frozen II’ (Frozen, Too)