Mrs. Harris Goes To Paris (2022) - Movie Review

I don’t know if karma is actually a thing. It’s a nice idea as a general principle, and it would certainly help the world make a bit more sense, but... well, that’s just it: It relies on things in the world having a logical progression to them, and I’m not so sure of that. Bad people get rewarded for their dickery all the time, while those trying to do good often run at a deficit because altruism isn’t exactly a profitable endeavour. We should be good to each other and to ourselves, but that doesn’t mean getting recognised by some nebulous universal force is going to be part of the deal. Not that it isn’t a dream worth striving for, though, and dreams are bountiful when it comes to this particular film.

Greta (2019) - Movie Review

When crafting a story, there is always that feeling that there is more that can be done with the premise. No story is capable of exploring every single facet that it brushes against, and when dealing with something as intensive as cinema, the smaller details require as much preparation as humanly possible.

I’ve covered a few movies in the past that felt like they were trying to make statements on anything and everything connected to its core idea, but movies feeling cluttered doesn’t get a gut rejection from me as a critic. All I really ask is that, if something is going to be brought up on-screen, it should at least be given enough weight that it makes sense why it is being highlighted. For a good example of this, there’s last year’s Suspiria, which not only dealt with a whole slew of different ideas but managed to give all of them room to breathe so it all made sense. For a bad example of this, we have today’s Chloë Grace-Moretz feature.