When Disney began promoting the film, there were some who thought it would have a horror edge to it and that idea was only emboldened when Raimi was announced as the director. While Raimi’s unique touch is visible in various parts of the film, I wouldn’t say it goes far enough to truly separate it from all the Marvel movies. At this point in the Marvel cycle, there should be more chances being taken, not just with the plot but with the whole tone and dialogue of the movies.

Paul Gordon as David is the highlight of the movie since his delivery is so awkward and dry. David seems like a boring person doing his best to impress Anna since he and his wife recently separated. He doesn’t come off as creepy and there’s a certain charm to his droning dialogue that gives the movie a comedic aspect that it needs. While David and Joan mirror Anna and Bo in some ways, they aren't as key to the overall plot as they could have been and fleshing out their characters could have added a lot more to the movie.

Nitram is distinguished by three outstanding but contrasting central performances. Jones has become a screen presence who evinces vulnerability and unease in equal measure, and he is sensational here. Jones conveys an inner world of rage and confusion with tremendous subtlety, lending a tragic gloss to Nitram’s childlike simplicity and blundering attempts at social engagement. It is a frank and fearless portrayal of mental illness left to its own devices.

Keke Palmer is a talented actress who makes the most of her screen time. Unfortunately, the script is not up to par with Palmer’s dynamic and elegant performance. The character of Alice is severely underutilized. Half of the film’s runtime is devoted to life on the plantation, thus Alice’s escape and subsequent discovery that she is in the year 1973 never gets a moment to breathe. Despite Alice finding herself in a new century, the news never seems to shock Alice.

There’s a certain magic about our favorite restaurants. They’re places where we’ve made memories with friends and family and might serve as a source of comfort. While many restaurants have been long forgotten by now, there’s one chain that resonated with many important people that is, unfortunately, no longer around: The Automat. The story and impressions this unique establishment left behind are told in the new documentary The Automat by Lisa Hurwitz.

One can endlessly debate whether Rock went too far or if Smith’s actions seem like that of an unhinged lunatic or a protective husband. What I haven’t seen is much talk about how the conversation might differ if the demographics of those involved in the altercation were changed. I believe that discussion is fundamental in an era defined by the #MeToo and #BlackLivesMatter movements.

In a new video, Highbrow Magazine Chief Film Critic Forrest Hartman discusses the 2022 Oscars race, and which actor/actress and supporting actor/actress deserve to win the gold. It's a tight race this year, given a number of noteworthy performances: from Andrew Garfield in Tick, tick...Boom! to Jessica Chastain's riveting turn as Tammy Faye Baker in The Eyes of Tammy Faye. The Academy Awards ceremony airs on March 27 on ABC at 8 p.m. ET/5p.m. PT.

In a new video, Highbrow Magazine Chief Film Critic Forrest Hartman discusses this year's Oscars contenders for Best Picture -- from Belfast to King Richard to Power of the Dog -- and selects his pick for the golden statue. Hartman will also feature another Oscars video next week, in which he will talk about the nominees for Best Actor, Best Actress, Best Director, and other categories.

Robert Pattinson delivers a unique take on a Bruce Wayne/Batman that is consumed by his emotional trauma and is portrayed as an awkward and unstable man struggling to do his best against all odds. He’s obsessive, self-destructive, and looks like he never gets an ounce of sleep, but it all gives the character a realistic feel. The mystery at the core of the plot is very well done with the main villain, the Riddler, doing a great job of being a menacing enigma who taunts Batman at every turn.

The film plays out like a twisted take on Walden, throwing Thoreau into the horror grinder. Tom Obzud’s sound design brings a visceral quality to Kaczynski’s activities – from the preparation of food to the construction of explosive devices, every action is imbued with a pungency that almost rises from the screen. Kaczynski is another of God’s lonely men, looking for solutions to his isolation in disturbing action, but there is no attempt to either valorize or condemn his choices.