Monthly Archives: May 2022

In the early going of “The Last Victim,” I figured my review was going to focus on the one thing every thriller that doesn’t work has in common — the lack of urgency. But dawdling when it should be quick-marching … Continue reading →

“Downton Abbey: A New Era” has the feeling of a grand curtain call for Britain’s most beloved PBS export. Sunnier and funnier than the previous “Downton” film, it bestows amusing moments and lines on every loyal cast member, enough screen … Continue reading →

Bogdan George Apetri’s “Miracle” is a thriller of deceptive simplicity and paralyzing jolts. The director of “Unidentified” and “Outbound” mesmerizes us with a tale in two acts, each a sort of day-in-the-life of two different modern Romanians. The first act … Continue reading →

This is a real eye-popper. Literally. June 17.

Whatever Netflix’s other troubles at the moment, the fact that the might-have-peaked streamer gave Polish director Mateusz Rakowicz his first feature film credit, and that it’s “The Getaway King,” stands them in good stead in my book. A bracing, laugh-out-loud … Continue reading →

What’s the trailer tell us? “I’ve inherited a villa in the South of France.” “Someone’s making a movie…at DOWNTON?” When a sitcom produced either of those plot twists, we’d use the phrase “jumped the shark” back in days of yore. … Continue reading →

A beautiful woman alone in her expensive home, a husband always tied up with business, a handsome gardener who sure would like to “cool off” in her inviting pool. And by the way, he’s got this…partner. Sounds like a porn … Continue reading →

This Sundance entry has a serious fizz about it. This Red Bandish trailer has three or four good giggles in it. Dining in America ” comes our way May 27.

A doomsday conspiracy thriller with Hopkins directing his “team” to save the day, from beyond the grave? Not a big name in the supporting cast. But just the sort of movie you can make in a pandemic. Self quarantined. Could … Continue reading →

A somewhat frazzled turn by Christina Ricci and the ambition to try a big third act plot twist are the chief recommendations of “Monstrous,” a 1950s horror tale about a mother trying to save her son from something not wholly … Continue reading →