Author Archives: Roger Moore

Kind of a woodlands virus zombie movie? Perhaps. Oct. 18.

Dystopian sci fi is just the best.

The baseball is sloppy and the sentiments border on maudlin in “You Gotta Believe,” the latest “true story” Texas sports dramedy from director Ty Roberts and writer Lane Garrison. Luke Wilson plays a Little League coach with cancer — he … Continue reading →

After decades, not just years, of battling brain cancer, San Francisco apartment finder/rental agent Jack Tuller decided to take charge of the one thing he could still control, the way his life ended. Married, pushing 60 and with a circle … Continue reading →

Andre Taylor, John Earl Jelks, Andra Day and Aunjanue Ellis-Taylor star in the debut feature of writer-director Titus Kaphar, a taste of the African American experience that touches on parents and children and trying to learn from the mistakes of … Continue reading →

This lovely, moody Irish period piece from Quiver stars Agnes O’Casey, David Wilmot and is based on a 19th century novel by Sheridan Le Fanu, who wrote an early “Vampyr” novel and other fiction that has been adapted for the … Continue reading →

The great British filmmaker John Boorman announced his presence in Hollywood with authority with 1967’s “Point Blank,” a brutal, blunt-instrument of a thriller starring Lee Marvin. “Deliverance,” “Zardoz,” “Excalibur” and “Hope and Glory” were to come. But here was a … Continue reading →

The ever-devolving horny teen party comedy continues its progression from “Sixteen Candles” to “Just Can’t Wait” to “American Pie,” “Superbad” and beyond with “Incoming,” a rough and tumble cut and pasting from every teen movie to precede it. Nepo baby … Continue reading →

One of the reasons I always regarded journalism as the ultimate continuing education job was what you learn about, by necessity, to cover your beat. For me that could mean reporting on Native American arts and cultural affairs in Alaska … Continue reading →

One thing that makes a film a “classic” is how modern it feels, no matter what decade produced it. By that measure, William Wellman’s “The Story of G.I. Joe” (1945) is the “Citizen Kane” of combat dramas, the “Saving Private … Continue reading →