Monthly Archives: March 2021

A tepid period melodrama set against the backdrop of Czech history, “The Affair” might best be described as a movie about a house. That’s more accurate. Czech director Julius Sevcík (“A Prominent Patient”) has made a film of Simon Mawer’s … Continue reading →

Um, okay. “Borat: Subsequent Moviefilm” is a fine fun semi-scripted farce. Ripped Rudy a new one. But an Oscar contender? No “News of the World” or “Another Round” or “The Father” or “emma.” Or “David Copperfield” or…what else do you … Continue reading →

A rambling, generic mobster’s-rise-in-flashback story, with a ludicrous terrorism trial as its framework, actors ranging from competent to amateurish and most of them unable to hide their disengagement from the script, “Dutch” has it all. And then you look at … Continue reading →

There’s something going on in an abandoned mine in an emptied-out town in BFE, Kentucky. And the only person who can get our Cambridge scientist and his team there is a mysterious and hyper-competent Spanish guide. No, “The Devil Below” … Continue reading →

If there is a simple formula for making a movie you assume the horror audience will embrace, the British thriller “Sacrilege” lays it bare for all to see. “Bare” as in nudity — discrete, teasing and of course female. And … Continue reading →

Here’s another project from the filmic pre-history of Peter Sellers, a little-seen if not “lost” comedy made his with fellow “Goon Show” castmates. If the through-line of modern sketch comedy runs from the Goons to Monty Python to Second City … Continue reading →

Imagine “Lock, Stock and Two Smoking Barrels” or “Rock’n Rolla” set in a world of Colombian gangsters. Some have colorful names, many have down and dirty secrets and nobody’s shy about spilling blood. That’s “Dogwashers,” a Carlos Moreno thriller with … Continue reading →

Marvel’s upcoming “Remember these guys?” release.

There is no crying, no overt expressions of grief. But we can feel the loss in this house. Everybody is “processing it,” as we say these days, an expression that sanitizes death in ways that surely Hallmark and the funeral … Continue reading →

A hundred minutes of monologues, tirades and sometimes testy exchanges filmed in black and white, “Malcolm & Marie” adds up to a tepid two hander, a “Who’s Afraid of Virginia Woolf” without the writing to come off. The dialogue and … Continue reading →