Watkins’ “Speak No Evil” is a faithful adaptation, hitting the same beats as the Danish original. However, whereas the original ends on a decidedly bleaker note, Watkins adds a 20-minute-long final act.
“Infinite Icon” shows significant growth as an artist for Hilton, especially when compared to her debut “Paris,” but is beleaguered by one major issue: Hilton is consistently the worst part of the whole production.
“Killers of the Flower Moon,” Martin Scorcese’s latest entry to his storied film career, is a solemn tale about evil's openness and greed's overwhelming vice.
Even after its debut 30 years ago, “In Utero” still has an edge of abrasiveness that keeps its vitriolic content fresh and raucously intoxicating even now. The angst and venom present on “In Utero” still resonate now, decades later.