Author Archives: Roger Moore

So the Finns fought Russian invaders early in World War II, and sided with the Germans in besieging Leningrad during their invasion of the USSR. And this avenging, John Wick-ish Finnish gold miner is killing Germans? Only Germans? Yes, it … Continue reading →

You’d think even Stephen King would be tired of “Children of the Corn” remakes by now. But as he’s having another “moment,” in which everything he ever wrote is potential fodder for a new franchise reboot, here we are with … Continue reading →

“Call Me Chihiro” is a soapy, static Japanese melodrama that drifts through the months after a sex worker has given up “the life.” It’s true to its source material as it captures the brooding, interior world quality of some of … Continue reading →

It was a hit when it was first released and nominated for four Oscars, winning two. But Franco Zeffirelli’s lavish, period-perfect and bracingly young “Romeo and Juliet” wasn’t universally loved. Critics decried its “bowdlerized” Shakespeare, the dewy inexperience of its … Continue reading →

This May 26, a distributor called VVS (?) releases this good-looking action vehicle for our lad Gerry, who might be entitled to higher profile offerings after the success of “Plane,” but work is work.

Let’s begin with first principles. We are never going to get a “definitive” documentary that takes in everything, talks to everyone and tells us all we need or could possibly want to know about the inscrutable genius, Stanley Kubrick. Consider … Continue reading →

Like the beard, like the hat. The accent? It’s growing on me. “Inspired by the actual files” of a fellow with that unofficial title. “You have a problem with me, you talk to my boss.” April 14, Russell Crowe works … Continue reading →

The role that changed Hugh Bonneville’s life didn’t arrive in a “Eureka!” moment, and he doesn’t treat it that way in his charming memoir, “Playing Under the Piano.” “Downton Abbey” made itself known to him as a make-conversation chat with … Continue reading →

A good rule of thumb for horror cinema is that your movie can get away with being obvious, or it is allowed to be slow to unfold. But it can’t be both and work. That’s the curse of “The Womb,” … Continue reading →