Monthly Archives: November 2022

Of all the things you’d never expect to find on the resume of Mauna Loa-sized Jason Momoa under “special skills,” “plays nice with kids” has to be pretty far from predictable. He’s the best thing, almost the only entertaining thing, … Continue reading →

“Nanny” is that rare sophisticated and cosmopolitan horror movie, a tale with chills and cross-cultural issues far beyond your usual nut-with-a-knife or demons menacing the kids in a cabin in the woods. Nikyatu Jusu’s debut feature, an award winner at … Continue reading →

In the indie vampire thrilleramedy “Blood Relatives,” the anti hero travels the blue highways of America in a Fire Blue ’69 Barracuda, mutters in Yiddish and is tracked down by a teen who might be his daughter. “I need to … Continue reading →

Amy Adams couldn’t very well turn down a sequel to “Enchanted,” the 2007 Disney delight that made the “Junebug” breakout a bonafide Hollywood star. But seeing her soldier through “Disenchanted” makes one wish she had. She puts on her happy … Continue reading →

The mind takes conditioning to get on the right wavelength to wrestle with post-modernist social satire. We’re decades removed from screen satire’s golden age, an era roughly bracketed by two Peter Sellers films, “Dr. Strangelove” and “Being There.” And getting … Continue reading →

“Four Samosas” is a scruffy, hit or miss indie caper comedy about four young Indian Americans who set out to rob the store of a local grocer who’s gotten rich by illicit means. It’s built on a generational angst, with … Continue reading →

There’s real historical backdrop to “Robbing Mussolini.” But is the new Italian film (subtitled, or dubbed into English) a “true story?” “True-ish” an opening credit reassures us. How “true-ish?” Well, it’s 1945 Milan in the last months of the war, … Continue reading →

“The Menu” is a darkly funny, culture-skewering satire that’s easier to defend on cinematic grounds than more — you know — logical ones. It takes its design and tone from the austere aesthetics of chilly, modernist architecture, which mimics the … Continue reading →

The perfect movie to open right before Thanksgiving, a class conscious haute cuisine thriller. We awaken from our triptophan stupors and get away from the turkey to soak up a little Joy — as in Florida born Brit Anya Taylor … Continue reading →

Gross, gory and psychedelically nonsensical, Alex Phillips “All Jacked Up and Full of Worms” plays like the sort of indie film guy with a camera and some stoner buddies make. It’s sloppy, semi-scripted and lacks much of anything that you’d … Continue reading →