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REVIEW: Cowboys & Aliens
From the very beginning of Jon Favreau’s “Cowboys & Aliens,” a very uneasy unevenness settles on the screen. The movie feels torn between whether to be an alien invasion movie that happens to be...
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REVIEW: Ruby Sparks
My second review on this site was for a movie I was quite high on three years ago, “(500) Days of Summer,” and remain a big fan of to this day. Back then, it was the little indie that could, a summer...
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REVIEW: Being Flynn
My review of “Being Flynn” might read more like an obituary, and that’s fairly intentional. I don’t understand, but the Weitz brothers appear to have disassociated themselves entirely with comedy....
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REVIEW: Looper
It’s about time for a changing of the guard in science-fiction, and “Looper” heralds perhaps the sign that the genre is in young, fresh, and good hands. Rian Johnson’s time-traveling tale is an...
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REVIEW: Love & Mercy
Struggle is an inevitable, unavoidable part of creating art and living life. But in Bill Pohlad’s “Love & Mercy,” an unconventional two-panel biopic of Beach Boys lead singer Brian Wilson,...
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REVIEW: Prisoners
Denis Villeneuve’s “Prisoners” possesses a remarkable precision in nearly every aspect of its execution. It is palpable in the mood, the performances, the script from Aaron Guzikowski, and especially...
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REVIEW: Youth
From its opening shot, a twirl around a retro band covering Florence and the Machine’s “You’ve Got The Love,” Paolo Sorrentino’s “Youth” announces itself as an odd bird. To quote a project from star...
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REVIEW: Swiss Army Man
For what was likely the better part of a decade, I spouted off the line “Better out than in, eh?” from the movie “Shrek” without really knowing what it meant. The maxim refers to passing gas, of...
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F.I.L.M. of the Week (November 24, 2016)
With “Certain Women,” Kelly Reichardt took a move back toward the kind of stories that made her career – the quiet routines that define and confine the lives of Pacific Northwesterners. But earlier...
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REVIEW: Okja
Director Bong Joon Ho took oblique shots at social malaise through allegory in his films “The Host” and “Snowpiercer,” but he goes in for a more direct kill shot with his latest, “Okja.” The film is a...
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