Monthly Archives: September 2020

I loved “The Long Way Round,” and “The Long Way Down,” two epic motorcycle road trips undertaken by actor pals Ewan McGregor and Charlie Boorman (son of the great director John “Deliverance” Boorman). It’s been 13 years since the second … Continue reading →

Who would have suspected that the perfect “whodunit” title would turn up on a Korean thriller? “Killed My Wife (Anaereul Jukyessda)” is a guilty, sinking suspicion, a question and in the end an answer to a mystery, cryptically served-up in … Continue reading →

De Niro and Uma, Jane Seymour, Rob Riggle, and Cheech Marin, Faizon Love and Christopher Walken. The slapstick and cute is strong in this one. Oct 9, it hits theaters.

“Antebellum” is a gorgeously-shot but dawdling and ditzy parable on race and “the patriarchy,” told in three acts. First-time feature writer/directors Gerard Bush and Christopher Renz make the most of their Big Chance, opening their film with an impressive-if-not-quite-dazzling five … Continue reading →

“Blow up your TV,” John Prine sang, in one of his most famously whimsical songs, an early plea for abandoning media and focusing on what’s personal and important. “Throw away your paper.” Half a century later, “media” is more insidious … Continue reading →

It’s a thin line filmmakers must walk when depicting mental illness in a movie. The line is thinner when the genre you’re working in is a romance, one that flirts with being a romantic comedy. The risk is, that you’ll … Continue reading →

Sometimes you wonder how a movie with a couple of “names” in it got past you. And everybody else. “A Girl Like Grace” is a 2015 teen drama starring Ryan Destiny, who went on to do Fox’s “Star” TV series, … Continue reading →

A good romantic comedy is like a happy love affair. Even when our couple faces obstacles, they should feel “easy” to overcome, even if they aren’t. Even if every relationship requires work, we shouldn’t see the effort. “Gossip Girl” veteran … Continue reading →

A tram on Jersulem’s Red Line makes its way from east to west, through an important city of many religions and cultures, revealing itself through the passengers who get on at various stops at many different times of day. But … Continue reading →

Zombie movies are challenging Kia and K-Pop as Korea’s major export, these days. “Train to Busan” and “Peninsula” were big budget theatrical entries, and “#Alive” arrives as the Netflix version, lower stakes, smaller scale, more intimate by design. It doesn’t … Continue reading →