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Alexander Skarsgard

‘Godzilla vs. Kong’ isn’t so much good, but rather good enough, sacrificing character work and dialogue for kick-ass action set pieces.


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Top 10 Pandemic Movies

by Warren Cantrell on September 11, 2020

in Top 10s

Today’s Top 10 list is a celebration of the films that got pandemics more or less correct from the micro or macro (or both) side of things.


An excellent cast, led by Theron and Rogen, and top-notch writing make ‘Long Shot’ a sure thing.


‘The Hummingbird Project’ is an interesting enough, if predictable, rumination on the current state of the American dream.


What Maisie Knew is a perceptive adaptation of Henry James’ 1897 novel about a child stuck in the middle of a custody battle between divorced parents in London. If you want to see a film where secret service agents, military, and the highest ranking officials in the U.S. government are mowed down in bloody gunfire and subjected to humiliation, Olympus Has Fallen is for you.


The espionage thriller gets an update with the release of The East. And let’s face it, born largely out of the Cold War; the espionage thriller needed a facelift. Pitting spy against spy and super power against super power just doesn’t work as anything other than a historical document or relic of the not-so-distant past.


Currently playing at this year’s Seattle International Film Festival, and in full release today, What Maisie Knew should be commended for breaking the traditional mold of children in movies. Indeed, while it isn’t always pretty, the film at least has the courage to commit to its message: the emotional and spiritual protection of children.


Surprise, surprise, Battleship, a movie based on a board game turned out to be an empty, underwhelming mess. Director Peter Berg has had to suffer comparisons to Michael Bay and that other movie franchise based on a Hasbro board game, but in this case, it’s an accurate comparison. Berg-favorite Taylor Kitsch stars in another misplaced, big-budget Sci-Fi movie […]


In ‘Melancholia,’ Lars von Trier has created a deeply personal examination of the the extremes of depression. Is the end of the world real or metaphorical? Is the science behind it sound? These questions are ultimately irrelevant, as the movie forces the viewer to deal with fear on a personal level as well. This isn’t a film about the “global” end of the world. It’s a film about what the end of the world inside one person feels like.