Monthly Archives: September 2019

A child’s hearing-loss is “corrected” by cochlear implants, leading to him wanting to perform Beethoven’s “Moonlight Sonata. The boy’s deaf grandfather faces the perils of old age, adding new maladies to his lifelong one. And the boy’s filmmaker-mother ponders them … Continue reading →

This is an October release about a real life clown hired to show up and scare the kids — grownups, too. And it looks revelatory, in terms of why folks are scared of people in facepaint and wigs.

The first half of the “It” saga opened at a horror film record $123 million+ two years ago. “It Chapter Two” is now on track to come in a whopping 20% below that. Thursday showings were the first sign at … Continue reading →

Sorority vengeance fantasy. Love that Imogen. The fact that she Poots is irrelevant.

It’s stupidly long. And no, New Line/Warner Brothers–length does not add gravitas or importance. It just means you chose not to give your movie pace, that you were too scared to edit anything out. Reviews have poor to middling. I … Continue reading →

What’s that old saying about too much of a (mediocre) thing? That’s the second half of Stephen King’s “It” saga, an everything horrific but the kitchen sink thriller destined to be a blockbuster, treated — by virtue of its excessive … Continue reading →

For those of us who have longed for a “Romy and Michelle’s High School Reunion” meets “Wedding Crashers” in French, Netflix is here to fill that void. The streaming service has had decent luck with French farces (“I Am Not … Continue reading →

Two young couples, with patriarch Sterling K. Brown holding the family together as it is tested by life these days. It’s from A24, so chances are it’s very good.

Let’s get the “icky” part out of the way up front. “Scarborough” is a drama about two teachers showing up at the same British coastal resort town, off-season from the looks of it, for a weekend with their student-lovers. They … Continue reading →

This full trailer for Taika Waititi’s “JoJo Rabbit” has whimsy (“What We Do in the Shadows”), scope (“Thor: Ragnorak”) and darkness, heart and pathos. It’s like a Wes Anderson movie about Nazis, without a grand hotel. And a German cover … Continue reading →