Monthly Archives: March 2026

The two old men bickering on a bench could be there in “2030, 1984, 506” or whenever, an opening title of “Strangers in the Park” tells us. This tale is “timeless” is the message. This movie is an “I’m Not … Continue reading →

We can all stop fretting over Margot Robbie’s long-term cinematic prospects. She finally has a bonafide star-vehicle romance/blockbuster on her resume, a smash that isn’t the epic “movie of its moment” event that was “Barbie” or a “Suicide Squad” comic … Continue reading →

Unlike the kids who’re the target audience for most Pixar pictures, I’m supposed to know better. I know that Pixar long ago lost its animation mystique, a combination of hype and media management that had unwary reviewers manipulated into singing … Continue reading →

Job one, aka all Maggie Gyllenhaal had to do in her ambitious, inventive take on “The Bride!” of Frankenstein, was not stink up the screen so much that she blows Jessie Buckley’s best shot at an Oscar. Not for this … Continue reading →

“Runt” is a sweet and ever so slight Aussie farm country comedy in the “Babe” tradition. There’s a drought. A family might lose their farm and sheep to it or the greedy old neighbor with the onomatopoeia name “Robert Barren.” … Continue reading →

My utter disillusionment with the Oscars started early and has rarely been given cause to turn back to hope in the ensuing decades. This week, TCM showed a couple of classics, back to back, that took me right back to … Continue reading →

“Accused” is a “#MeToo” thriller set in the world of medicine, a mystery built around a married doctor accused of sexual indiscretions and the tests that imposes on her same sex marriage. It barely has a pulse as a thriller, … Continue reading →

As more than one wag has put it, there were something like “300 people” who made the “Swinging Sixties” era in London swing. But for all the complaining about “Boomer nostalgia” in describing that watershed age, bloody few of the … Continue reading →

Kristin Scott Thomas lends her serene upper class sheen and effortless elegance to “My Mother’s Wedding,” her directing debut about three wildly different daughters showing up for Mum’s late life nuptials. She persuaded her “Horse Whisperer” and “The Other Boleyn … Continue reading →