Author Archives: Roger Moore

The nature of memory, its organization and how we hang onto recollections of lost loved ones is what “306 Hollywood” is about. It’s an almost insufferably esoteric documentary made by two siblings, dissecting, digging and reconstructive the life of their … Continue reading →

It’s no stretch to think of “Orange is the New Black” star Taylor Schilling as a kidnapping victim who has little trouble turning the tables on her captor. She plays native cunning well, and carries herself, even in a show … Continue reading →

Little Joan Marie Larkin saw the rock quartets on TV in the 60s and early 70s, and decided she just HAD to have a Sears Silvertone electric guitar for Christmas. “I can’t be the only girl who wants to do … Continue reading →

It’s hard not to oversell “Smallfoot,” the new bigfoot musical from Warners Animation. Because words like “joyous” and “profound” (almost) leap to mind at several points in this Warners Smart/Pixar Heart comedy. Yeah, you’ve seen the trailers, maybe shrugged. Maybe … Continue reading →

Equal parts “The Crucible,” “Kill Bill” and well, hell — “Carrie” — “Assassination Nation” is straight up action exploitation, a  scantily clad, sexed-up slut-shamed girls satire about scantily clad, sexed-up and slut-shamed girls who get even. Not until they first … Continue reading →

The trailers have been cute. There’s a laugh here and there. About to see “Smallfoot,” which opens Friday, with an army of tiny tots — the only way to see a cartoon. Wish me, and them, luck.  

HBO’s Jane Fonda documentary, “Jane Fonda in Five Acts,” doesn’t tread lightly on the controversy that still swirls around “Hanoi Jane.” It jumps right in, playing a tape from the Nixon White House, with the disgraced president himself getting the … Continue reading →

You see as many horror movies as I do, you start to obsess on the one or two things the ones that work get right. A pet peeve? Actors who, because they’re not good at interacting with effects or can’t … Continue reading →

The buzz around the Netflix comedy “Nappily Ever After” swirls around Sanaa Lathan shaving her head on camera. As it should be. As an Atlanta ad exec, beauty accounts queen and physical appearance perfectionist, her drunken, broken-hearted tantrum with hair … Continue reading →

I found Eli Roth’s direction of the lifeless “House with a Clock in Its Walls” to be inept, “House with a Clock in Its Walls” to be inept, showing him to be out of his depth on a kiddie horror … Continue reading →