Monthly Archives: April 2020

    Too many movies to name begin with a famous quotation as an opening title, a prologue that parks the objectives of the story within the parameters of a pithy observation about life, love or the world we live … Continue reading →

Early ’90s, a self-sustaining human habitat experiment in a biosphere. It was so fascinating that it even inspired a Pauly Shore movie. Remember Pauly Shore? May 8, this Neon documentary remembers this event in the words of the people who … Continue reading →

Eva and Brandon are that couple that you’re rooting for in high school or hoping that they make it through college together. And so is the movie about their romance. “Angelfish” covers very familiar cinematic ground. He’s from the wrong … Continue reading →

For a fan, there’s nothing more delightful than stumbling across an action title — or a comedy, a romance, whatever — that you’ve missed starring the French monument to modern cinema, Jean Reno. Because how many times can I re-watch … Continue reading →

All right, settle down, settle down. Don’t get your Tommy Johns (women’s, or men’s edition) in a titillated twist. The come-on for “Clementine,” which could be “licentious young lesbians libidinously lead us on,” is just that, the old bait-and-switch. It’s … Continue reading →

Watching the Spanish thriller “The Legacy of the Bones” is a bit like having a conversation with an elderly relative. Endless exhausting digressions, a phone book full of characters with speaking parts, scenes that merely underline what’s already been established … Continue reading →

There’s little doubt who and what inspired Ryan Murphy’s new series “Hollywood” on Netflix. It was the scandalous book and doc and claims of “Scotty and the Secret History of Hollywood.” The series is about what Murphy, of “Glee” and … Continue reading →

The human migrant experience has a universality that spans continents and cultures, that connects the poor Guatemalan fleeing violence and the Indian hoping to escape to opportunity. Desperation, exploitation, the pull of assimilation battling the comfort and “safety” of hanging … Continue reading →

On this side of the Atlantic, we expect our comedies to at least pay some lip service to “woke.” Even the cringe-worthy ones. So an “Office” comedy like “Jefe,” from Spain, should best be compared to say the BRITISH version … Continue reading →

Cary Grant was 60 years old, grey and most comfortably cast in grumpy curmudgeon roles by the time the 1964 comedy “Father Goose” was tailor-made for him. But watch him nimbly scamper down beaches, over branches and around coconuts, through … Continue reading →