Author Archives: Roger Moore

There are plenty of elements that almost instantly categorize the German comedy “Blame the Game” as a farce. It’s got a large ensemble, mostly people who know each other, gathering for a group board and card game night. Some take … Continue reading →

For this remake of the Chow Yun-fat classic, Woo takes a few pages out of Luc Besson’s “Lady is a Killer” thrillers — “La Femme Nikita,” “Anna.” Nathalie Emmanuel is our hired gun with a “code,” this time. Sam Worthingon … Continue reading →

Miracle surgery “saves” our hero, only to have somebody try to make a play out of his former “Elephant Man” life. Adam Pearson and Renata Reinsve also star in Aaron Schimberg’s genre-busting film.

“Young Woman and the Sea” is about the inspiration for “Nyad,” the American swimmer who became the first woman to swim the English Channel and thus upended notions of “the weaker sex” in sports. Norwegian director Joachim Rønning (“Kon-Tiki,” the … Continue reading →

Your hat comes off and your heart goes out to anybody with the gumption to attempt to create a new musical. That’s ambitious. Melissa D’Agostino didn’t just co-write the script to “Mother of All Shows.” She stars in it, sings … Continue reading →

This is the true story of a brilliant photographer who breaks barriers to cover the ugliest events in WWII in Europe. Josh O’Connor, Alexander Skarsgard and Andy Samberg also star in this Sky release, which American distributor Roadside Attractions appears … Continue reading →

It’s hard to hear the term “white savior” in the cinema and not think of Peter O’Toole. Any film which puts a caucasian in an embattled situation with a community of color as its problem-solver/hero invites the comparison, as O’Toole … Continue reading →

The comparisons with “Silence of the Lambs” litter the reviewing landscape of the wintry Oregon-set thriller “Longlegs.” It’s a horror movie with higher ambitions, or at least pretensions, thanks to its casting of Nicolas Cage as an aged, high-voiced, Satan-worshipping … Continue reading →

The image is so iconic, so striking, and occurs so early in the immaculately realized period piece “The Convert” that you can’t miss its meaning. Guy Pearce, at his most dashing and playing a lay preacher new to a tiny … Continue reading →

I’ve read a few books on the subject, including the most recent scholarship about “Doolittle’s Raid” on Tokyo, one of the more daring American air exploits of World War II. And I distinctly recall the chill that went through my … Continue reading →