Leigh Monson has been a professional film critic and writer for six years, with bylines at Birth.Movies.Death., SlashFilm and Polygon. Attorney by day, cinephile by night and delicious snack by mid-afternoon, Leigh loves queer cinema and deconstructing genre tropes. If you like insights into recent films and love stupid puns, you can follow them on Twitter.
Cha Cha Real Smooth is a smart film, born from a preternatural level of introspection and compassion from a writer-director as young as Cooper Raiff.
The Northman, directed by Robert Eggers and starring Alexander Skarsgård, delivers on its purpose in bloody, gory spades.
Ambulance deserves to be seen on the biggest screen possible, with explosions rattling your seat and blasting your eardrums.
If 'Death on the Nile' is to be the end of the road for Branagh’s Poirot, it’s an appropriately high note to go out on.
'Cyrano,' starring Peter Dinklage, suffers from the desire for realism that has been a plague for many modern movie musicals.
'The Lost Daughter' is a quiet, thoughtful film about imperfect people, hinting at an imperfect truth.
George Clooney’s latest directorial effort, 'The Tender Bar' is a watered-down cocktail lacking in any flavor.
Aaron Sorkin's 'Being the Ricardos' is as effective as it is because it has a killer ensemble, including Nicole Kidman and Javier Bardem, and knows how to utilize them.
Rich jerks are prime fodder for trashy fun, but ‘House of Gucci’ only seems to understand that sometimes.
'Encanto' is an extremely charming film, deeply insightful into the paradoxes of familial entanglement while remaining relatable to an all-ages audience.
For as compelling as Will Smith is in 'King Richard,' it just feels strange that Richard Williams should be the focal point of this particular story.
Kristen Stewart and Pablo Larraín compellingly capture the essence of Diana's life through a lens of terror and existential dread, cementing 'Spencer' as one of the best films of the year
It’s doubtful that 'Finch' is going to blow anyone’s mind, but it's hard to begrudge the film its charms.
'The Beta Test' is occasionally hilarious, but nowhere near as insightful as it thinks it is or wishes it were.
'The French Dispatch' is as rich and poignant an experience as any of Anderson's other films, albeit with exhausting caveats.
Even if we hold on to the imperfections in the recreation, 'The Spine of Night' shows it's worthwhile to preserve modes of storytelling that might otherwise pass into antiquity.
'Louis Wain' goes through the motions of a standard biopic with only an occasional acknowledgment that a distinctive life probably deserves more artistic flair in its presentation.
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