Author: Rob Dean

While I try to not let various discourses sway my reviews, I still pay attention to what people are discussing around a film. With “Evil Dead Burn,” the main topic was how mean it was (or wasn’t) versus how much humor was in it—especially when compared to franchise entries like “Evil Dead II” and “Army of Darkness.” This surprised me because I found it much funnier than the last installment (“Evil Dead Rise”), albeit with a dark humor and gonzo violence more associated with the French Extremity wave of horror from the early ‘00s. Is it harsh to its characters…

A cosmic retelling of “True Grit” with DC Comics’ Maid of Might in the Rooster Cogburn role, “Supergirl” is ultimately fine. Director Craig Gillespie turns in a film that is often entertaining, frequently funny, and occasionally touching. It’s also more than a bit clumsy, overly muted, and poorly edited (particularly the fighting scenes). While those detriments certainly take away from the overall impact of “Supergirl,” it’s not enough to drown out the good or to overpower the fun that is on display. I’m not sure how much staying power it will really have on my mind, but it is possible…

With just three films, Michael Sarnoski has pretty much cemented his themes and motifs that he likes to explore. Across “Pig,” “A Quiet Place: Day One,” and now “The Death of Robin Hood,” the writer/director delves into how we wrestle with legacy, death, interconnectedness, and violent tragedy. What’s interesting is that these are not strictly elegiac movies but instead interrogate the past and the stories that are told while grappling with what it all means in the present. “The Death of Robin Hood” is the weakest of his cinematic offerings so far, but that’s not to suggest it’s bad. There’s…

When discussing “The Furious,” it’s difficult not to just devolve into “The Chris Farley Show” sketch from SNL—simply bringing up all the gnarly moments from the film and then proclaiming how awesome it all is. Because, at the end of the day, “The Furious” is truly that badass slice of awesomeness. While it doesn’t totally revolutionize action films in terms of cinematography (certainly not in terms of narrative), it’s the insane fight choreography that truly sets it apart and will make it a high-water mark for action fans. Director Kenji Tanigaki has crafted a high-octane film that’s almost all propulsion…and…

I’m not entirely sure how I feel about “Disclosure Day.” That may not be the strongest or most inviting opening to read when you come to a critical review, but it’s the truth. Steven Spielberg’s latest film has left me incredibly conflicted and uncertain over how I ultimately think about the movie. On the one hand, “Disclosure Day” is technically proficient with some great sequences, excellent performances, and an important message that seems more urgent by the day. And yet, it’s also filled with clunky scenes, awkward plotting bits, and there’s just enough divorce from reality to make it hard…

Who is “Masters of the Universe” for? I don’t mean that to sound like there’s no audience for a “He-Man” movie, but rather what group is being aimed at by this particular “He-Man” movie. At times, it’s colorful, quick, and simplistic in a way that works for younger viewers. But other times, it’s full of pubescent humor and fake swear words. And then other times, there are references to the 1987 Cannon version, cubicle farm humor, and attempts at profundity. In the hands of better artists, you could serve all these different segments with a cohesive film that manages to…

“Obsession” has been on my radar for a long time. And while I’ve been trying to see it since September 2025 (where it played two sold out screenings at Fantastic Fest), I’ve also been avoiding all trailers, posters, interviews, social media posts and more—a daunting feat given our media landscape and the growing buzz for the film. But writer/director Curry Barker’s impressive film doesn’t just match the hype but exceeds it, producing a very dark tale of wish fulfillment gone wrong that playfully manipulates the audience’s sympathies through its villainous protagonist. It’s a very clever idea that plumbs truly obsidian…

The latest “Star Wars” offering, “The Mandalorian and Grogu,” is fine at best. It has some exciting moments and imaginative sequences, but nothing too inventive or engaging. What I thought most about it was…why was this a movie? Borne out of “The Mandalorian” TV series, why does this story necessitate a cinematic spin-off? Presumably it has to do with finances—both Disney wanting to make more money off their property but also requiring certain budgetary changes as well. But from a strictly story perspective, there’s nothing about “The Mandalorian and Grogu” that feels like it had to have been told, certainly…

It’s rare that a film is so sweet that it wins over internal objections, but that’s the case with “The Sheep Detectives.” It’s a wonderful movie that sounds hokey in theory and should be extremely corny and dumb, yet it’s executed brilliantly and becomes a truly endearing experience. Director Kyle Balda, working from a script by Craig Mazin (based on the novel by Leonie Swann), finds a way to be tender without too much saccharine, and even plumbs darker depths of loss and grief without losing any of its shine. It takes a bit to get going—starting off as woefully…

While I thoroughly enjoyed “The Devil Wears Prada 2,” the fact that I don’t love the first film makes me wonder how true fans of the original feel about it. I find 2006’s “The Devil Wears Prada” pretty flat and devoid of humor, with everyone being horrible but not many instances of people being entertaining or interesting. Emily Blunt and Stanley Tucci have their moments in that iteration, but mostly it’s just a belabored Faustian tale without much of a hook. And while it’s full of great fashion, the original “Devil” is shot so flatly that it does a great…