Henry Cavill and Armie Hammer trade in the same kind of faux-clever one-upsmanship that Holmes and Watson do in ‘Sherlock Holmes,’ with similarly weak dialogue but barely a quarter of the charm.
{ Comments on this entry are closed }
2015
Freed from the constraints of the mystery genre and having a detective/investigator as a main character, Jules Dassin’s 1950 film Night and the City is downward-spiral noir in its purest form.
{ Comments on this entry are closed }
Dark Places suffers from its commitment to its mediocre source material, and the horrendous Fantastic Four is a intro course in how not to write a screenplay.
{ Comments on this entry are closed }
[Rating: Minor Rock Fist Down] Joel Edgerton wears many hats in The Gift as writer, director and actor, but none of them fit particularly well, here. The Gift plays like an early draft of a Twilight Zone episode before Rod Serling tossed it out and started over or saved it for Night Gallery. Jason Bateman plays Simon, a successful salesman who […]
{ Comments on this entry are closed }
The Mission: Impossible series is really hitting its stride.
{ Comments on this entry are closed }
Rusty Griswold takes his own family on a road trip to “Walley World” in order to spice things up with his wife and reconnect with his sons.
{ Comments on this entry are closed }
The Tribe is a viciously effective film. Its ending in particular is incredible and relentless. The Tribe will make you feel deeply, but the dark emotional place it takes you, may not be safe for most audiences.
{ Comments on this entry are closed }
Tangerine, now showing at the Tivoli in Kansas City, is a sleazy, comical adventure story about a spurned transsexual prostitute out for revenge after she’s released from the county jail.
{ Comments on this entry are closed }
My Beautiful Laundrette, out now in a new, restored 2K digital transfer on Criterion Blu-ray, takes place in a specific setting and with such specific characters that, even though the place and time feels very unfamiliar, is rendered relatable with an expressionistic tone by a humanistic director who coached some true, raw performances — including one from then up-and-comer Daniel Day-Lewis.
{ Comments on this entry are closed }
It’s the deeply earnest performances from Gyllenhaal, Forest Whitaker, Oona Laurence and Rachel McAdams — and the natural tendency to get behind the underdog — that keeps Southpaw going, even when a crushing inevitability hangs over the entire movie.
{ Comments on this entry are closed }
Rudd is his usual likable self, and he’s perfect for a role that requires a lot of exasperation. He’s an everyman that’s easy to root for from the get-go, and his droll sense of humor allows him to comment on the stranger goings-on with the appropriate amount of “WTF?”
{ Comments on this entry are closed }
Lila & Eve is an interesting exploitation/psychodrama about a grieving mother who takes the law into her own hands after her son is killed in a drive-by shooting.
{ Comments on this entry are closed }
Trainwreck still follows lots of typical rom-com formulas, but it also proves that there is still life left in these formulas, as long as there is true chemistry and tiny subversions along the way.
{ Comments on this entry are closed }
On the surface, this 1970 movie from Czech New Wave auteur Jaromil Jireš seems like a softcore porn Alice in Wonderland but without quite enough nudity to qualify.
{ Comments on this entry are closed }
Written and directed by Patrick Brice, The Overnight is a sex comedy that takes on the issue of two couples sexually comingling. It is strange, awkward, and works brilliantly because of Brice’s brutally honest approach to the curiosity and insecurity that plagues each of us.
{ Comments on this entry are closed }