Matt Cipolla (Page 4) | The Spool

Matt Cipolla (Page 4)

Writer and film critic for hire who has worked with WGN Radio, Bright Wall/Dark Room, RogerEbert.com, The Film Stage, and more. Firmly believes that ".gif" is pronounced "jiff."

“The Trip to Greece” is a fitting end to the series, but don’t expect a comedy

The last entry in the Trip series provides more insults and impressions, but it isn't so much about the jokes this time.

“The Lovebirds” is a disappointing date night of foul play

Michael Showalter's latest comedy suffers from a hackneyed script that forces its otherwise-likable stars to do all the heavy lifting.

“Seberg” is a political thriller with no real point of view

Benedict Andrews' retelling of FBI's pursuit of the French New Wave star under the Hoover administration relies far too heavily on broad stokes.

Unraveling pop-culture one thread at a time

The Spool is an irreverent, informative source for film and television coverage, focused on diverse, thoughtful opinions that seek out a greater understanding of the media we love.

“Bad Education” Is a Slight Sophomore Slump for Cory Finley

The Thoroughbreds director struggles to mix his sardonicism into a script about the biggest financial scandal in public school history.NOW STREAMING: Powered by JustWatch In a dark administrative office lit with cathode monitors and fluorescence, Superintendent Frank Tassone (Hugh Jackman) prepares to chum it up with a bunch of colleagues. The administrator, Pam Gluckin (Allison ... “Bad Education” Is a Slight Sophomore Slump for Cory Finley

“True History of the Kelly Gang” Looks at Australian Folklore with Mixed Results

Justin Kurzel puts manhood, infamous 1800s criminals, and the first feature film ever made into a bushranging blender.

How “Psychonauts” Reflected the Psychology of Gaming Itself

Double Fine's bizarro debut remains singular 15 years later in how it explores characters' minds—and the platformer genre's own neuroses.

“Sergio” Wants to Tell You About Its Hero, But What About Him?

Coming off his documentary work, Greg Barker presents his first scripted feature in a mishmash of undercooked storylines and characters.

“First Cow” Breezes Through the West with Peace and Patience

Kelly Reichardt's latest is a kindhearted storybook of a film that gracefully balances the sights, sounds, and textures of pre-Gold Rush Oregon.

The True Villain of “Candyman” Isn’t the Urban Legend Himself—It’s Helen

After 28 years, two sequels, and now with a reboot coming this June, Bernard Rose's look at racial and economic disparity lingers the most in how it skewers the myth of the white savior.

Emma. Review: More Merry Than Wise

Autumn de Wilde's straightforward adaptation of Jane Austen's novel has its charming moments, but that doesn't make up for its missed opportunities.

Sonic the Hedgehog Review: It’s No Use!

The iconic video game franchise gets a prickly, unoriginal adaptation that piles on the contrivances and dated references.

The Assistant Review: A Brutal Condemnation of Complicity

Kitty Green's latest incisively explores the systems that protect predators, resulting in something more than a simple Weinstein allegory.

Fantasy Island Review: A Nightmare of a Getaway

Jeff Wadlow's adaptation of the late-'70s TV show is a thrill-free getaway that only entertains when it goes from generic to incoherent.

Downhill Review: “Force Majeure” Turned Film Mineur

Nat Faxon & Jim Rash's remake of Ruben Östlund's 2014 dramedy is a dragged-out rehash that oversimplifies its point—and then loses it.

Sundance 2020: “The Social Dilemma” Isn’t Worth the Retweet

Jeff Orlowski's documentary about the effects and ethics of social media lacks enough emotional depth or practical solutions to work.

Sundance 2020: “Once Upon a Time In Venezuela”

Anabel Rodríguez Ríos's documentary about tension in the small village of Congo Mirador is both singular and specific.

Sundance 2020: “Nine Days” Provides Decent Soul Searching

Edson Oda's debut feature about a group of souls looking to be born into the real world is a great premise with pretty good execution.

Sundance 2020: “Some Kind of Heaven” Sees Seniors In Style

Lance Oppenheim's documentary about the largest retirement village in America blends droll humor with small, salient touches.

Sundance 2020: “Promising Young Woman” Finds Catharsis

Emerald Fennell's feature debut may be flawed, but it's an empathetic portrayal of rage, anguish, and black comedy.

Sundance 2020: “The Mountains Are a Dream That Call to Me”

Cedric Cheung-Lau's super slow burn overdoes itself at points, but it finds its beauty—and then finds it again.

Sundance 2020: “Possessor” Is a Grab Bag of Sci-Fi Clichés

Brandon Cronenberg's second feature is a po-faced collection of genre tropes that wastes its cast and a modest sense of style.

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