Author Archives: Roger Moore

“Soul Mates” is a “Saw” styled torture-then-kill thriller that hangs on an online dating hook and the cackling menace of Mr. Blond Bad Guy Neal McDonough. A tale of obvious twists and traps and under-reacting performances, about the best one … Continue reading →

Northern Australia on the cusp of World War II is the backdrop for this cattle station tale of a woman come to the Outback and the hard times and tough men she encounters there. A few familiar Aussie faces in … Continue reading →

We’ve had a few films about Elvis Presley told from his point of view, and one from that of his controlling huxter manager, Col. Tom Parker. So it’s long past time for one from that of his longtime love and … Continue reading →

Christmas Day, a best seller becomes a George Clooney film starring Joel Edgerton and hits the big screen.

Movies like “Crypto Boy” remind us that no matter how current and “hot” the topic, the label “melodramatic” will never go out of style. Melodramas use exaggerated tropes for plots and lean on character “types” so familiar that the entire … Continue reading →

Shailene, Penelope Cruz, and Italian cars — racing ones. Dec. 25, Neon releases this epic in the States. But I’ve shared the longer, cooler “Sky” Brit trailer, for your motoring, Enzoing pleasure.

Titillatingly transgressive and deliriously blasphemous, “Dicks: The Musical” barrels through the “Oh no they didn’ts” fast and furiously, a movie so self-conciously gay, outrageous, rude and gay again that one wonders if only George Takei should be allowed to review … Continue reading →

We could all use something a little sunny of Middle Eastern origin right about now. This autobiographical (“ish”) dramedy by writer-director Maryam Keshavarz fills that need. “The Persian Version” tells us the story of an LGBTQ Iranian-American daughter trying to … Continue reading →

Movies that use our remembered love of the cinema experience of our youth can’t help but be sentimental. From “The Last Picture Show” to “Cinema Paradiso,” “Four Hundred Blows” to “The Fabelmans,” filmmakers have found that their nostalgia for the … Continue reading →

This period piece looks wicked fierce. “Prison is no place for a young lady.”