Monthly Archives: May 2019

Travolta’s an ex-baller/private eye in this neo noir, coming to theaters and VOD May 24. Good to see Famke Janssen and Brendan Fraser getting into films again.  

The strain of achieving “twee” shows in far too many scenes and moments in the arrested development/coming of aged dramedy “Peel.” It may offer Emile Hirsch a chance to recreate his tweens even though he’s in his mid-30s. But there … Continue reading →

When we talk of “pace” in a movie review, it doesn’t just mean the speed at which the story unfolds. It refers to energy in the performances, narrative drive, “urgency” in the way what we’re watching grabs us and pulls … Continue reading →

Way back in ancient times, “Star Wars: The Force Awakens” set the opening weekend and second weekend box office records which generations — Ok, not generations — have held to be dear and unbreakable. With “Avengers: Endgame” wiping out the … Continue reading →

https://kotaku.com/sonic-the-hedgehog-movie-design-to-be-changed-following-1834488203

Love that Gurinder Chadha. The director of “Bend it Like Beckham” got the rights to some pretty good music for this version of a true story. Damn.

The New York Times says publishing houses have finally taken the Farrow family side about Woody Allen’s alleged child abise. And so it ends. https://www.nytimes.com/2019/05/02/movies/woody-allen-memoir.amp.html

Since time immemorial, this truism has ostensibly marked the difference between TeeVee and movies. Television, even “It’s not television, it’s HBO,” is a close-up medium, more about intimacy, “neck-up acting” than film, which even in the HD-bigger screen era, still … Continue reading →

Here’s a mob comedy as patchwork as its title –– “79 Parts.” It’s a pieced-together period piece stuffed with characters, with multiple narrators and story threads, a “ticking clock” deadline or two that no one remembers and a hodgepodge of … Continue reading →

There’s a squishy wistfulness that hangs over “Tell It to the Bees,” a same sex romance set in small town Scotland in the 1950s. Flashes of magical realism gently but gratingly clash with drab melodrama. Winning performances by leads Anna … Continue reading →