Monthly Archives: February 2023

God, I miss “Drunk History.” But Hulu talked Mel Brooks into bringing “History of the World” back, which has a similar sketch-comedy spin on history format — without, alas, the hilarious application of alcohol. So I guess this’ll have to … Continue reading →

Nobody should watch the latest from Indian filmmaker Lijo Jose Pellissery without at least glancing over a review. The director of “Churuli” and “Angamaly Diaries” has a reputation for not playing by the rules, for not overexplaining or even explaining … Continue reading →

If you’ve ever bought a pass to an entire film festival just to see the restored Fritz Lang masterpiece “Metropolis” or Abel Gance’s “Napoleon,” ever driven across state lines just to catch the post-restoration re-release of “Lawrence of Arabia,” or … Continue reading →

You’d think even Stephen King would be tired of “Children of the Corn” remakes by now. But as he’s having another “moment,” in which everything he ever wrote is potential fodder for a new franchise reboot, here we are with … Continue reading →

“Call Me Chihiro” is a soapy, static Japanese melodrama that drifts through the months after a sex worker has given up “the life.” It’s true to its source material as it captures the brooding, interior world quality of some of … Continue reading →

It was a hit when it was first released and nominated for four Oscars, winning two. But Franco Zeffirelli’s lavish, period-perfect and bracingly young “Romeo and Juliet” wasn’t universally loved. Critics decried its “bowdlerized” Shakespeare, the dewy inexperience of its … Continue reading →

Let’s begin with first principles. We are never going to get a “definitive” documentary that takes in everything, talks to everyone and tells us all we need or could possibly want to know about the inscrutable genius, Stanley Kubrick. Consider … Continue reading →

The role that changed Hugh Bonneville’s life didn’t arrive in a “Eureka!” moment, and he doesn’t treat it that way in his charming memoir, “Playing Under the Piano.” “Downton Abbey” made itself known to him as a make-conversation chat with … Continue reading →

A good rule of thumb for horror cinema is that your movie can get away with being obvious, or it is allowed to be slow to unfold. But it can’t be both and work. That’s the curse of “The Womb,” … Continue reading →