Volcano’s Reel Reviews

Hell’s bells, dear readers, it’s Vincent Volcano back at it again with another fiery dispatch from the purgatory of modern cinema! This week’s offering is Eli Craig’s so-called “Clown in a Cornfield,” a slasher film that paints with the same few bloody brushstrokes we’ve seen before. It’s the latest entry in the genre that’s puttering […]

Ladies and gentle-demons, grab your pitchfork popcorn and settle in, for Vincent Volcano here, critiquing yet another Earthly cinematic attempt to ignite the infernal flames of intrigue with “Another Simple Favor.” Ah, the familiar aroma of sequels wafting down to us even in the deepest caverns of Hell. Directed by Paul Feig, this flick rolls

Greetings from the fiery pits, dear cine-hadesians! It’s your favorite critic from the depths, Vincent Volcano, back with another scorching review. Today, we delve into the latest cinematic hot mess from the overcooked oven of Hellwood: “Until Dawn.” Directed by David F. Sandberg, this movie is a cheese fondue of horror tropes that hasn’t seen

Ah, “The Wedding Banquet,” where love, culture, and comedic chaos converge in a cinematic soufflé directed by Andrew Ahn—a man whose work is, dare I say, hotter than a cauldron of molten lava, albeit with less bite. Reimagining Ang Lee’s 1993 classic, this version boldly traipses into the modern whirlwind of LGBTQ+ dynamics with a

Inferno’s Greetings, my fiery aficionados of fine (or not-so-fine) cinema! Vincent Volcano here, swathed in my signature red scarf and wielding a tongue sharper than Hades’ pitchfork, to deliver a scorching critique of yet another dimming flicker in the tepid landscape of Earthly cinema: “The Luckiest Man in America.” Ah, Paul Walter Hauser, a name

Dear denizens of the underworld, brace yourselves for a blistering critique of the latest earthly spectacle, ‘The Friend,’ brought to (un)life by the paragons of mediocrity, Scott McGehee and David Siegel. Yes, friends, it’s an “adult comedy-drama” — you know, that genre that desperately wants to be taken seriously because it serves a lukewarm casserole

Ah, my infernal denizens, gather ’round as we dissect and desiccate the cinematic offering known as ‘A Working Man.’ This latest flick from David Ayer, starring our favorite growling granite, Jason Statham, attempts to thunder its way through the already well-trodden landscape of action cinema. But the question is, do we really need another film

Ah, modern cinema. It’s like a lukewarm lava bath—strangely comforting yet ultimately disappointing. And so, dear denizens of the underworld, we gather ’round the fiery screen of Netflix’s latest offering, “The Residence,” brought to us by Shonda Rhimes and her ever-churning Shondaland machine. It’s the “Only Murders in the Building” clone you never knew you

Ah, “The Electric State,” the Netflix spectacle that charitably rates a 6.5 out of 10, or ‘mediocre’ if you speak Vincent Volcano, which I assure you, is a language more honest than any subtitles. This movie is directed by Joe and Anthony Russo, those darlings of the Marvel hustle, now desperately trying to shake off

Hell hath no fury like Vincent Volcano scorned, and today I must unchain my fiery wrath upon the latest cinematic meanderings of Marvel’s so-called “Daredevil: Born Again,” now gracing Disney+ screens – for better or worse. As Hellwood’s retired infernal auteur, I find this modern spectacle a swirling abyss of recycled tropes and disjointed heroics