Author Archives: Roger Moore

There’s nothing worth getting worked up about over “A Chance Encounter,” so no sense wasting an “infuriatingly dull” or “tentatively tepid” over it. It’s never more than a senseless waste of seldom-filmed Sicilian locations whose view is blocked by the … Continue reading →

Quite a cast assembled for this Mark Pellington film based on a Dan Wakefield novel. Future Oscar winners Ben Affleck and Rachel Weisz, and Jill Clayburgh, Lesley Anne Warren, Amy Locane, Rose McGowan and Jeremy Davies assembled for a a … Continue reading →

Anthony Hopkins, too. Oscar bait from the team that showcased Hopkins in “The Father.”

So, these guys get their own universe, too? “Beyond the Yellow Brick Road,” as Elton puts it? Evangeline and Rudd, Michelle and a guy playing Kang the Conqueror. Feb. 17.

It goes down easier if you remember you’re allowed to laugh. Many of the best film noirs have their darkly humorous moments, and scenes and sequences so genre-iconic that a fan will give in to snickers of delight. Director Park … Continue reading →

The doctor is young, without anything resembling a comforting bedside manner. “I’m scared,” the patient says. “I know” is all he’s got for her. But at least he walks her through what he’s doing, step by step. “You will feel … Continue reading →

Martin Newell is a cantankerous British musician, singer, songwriter and poet who never quite got over the Dickensian wardrobe excesses of of the post-glam era in pop. He was in a few bands that never caught on, but he was … Continue reading →

The gotchas are grand, the production design creepy and the undead as undead as ever in Indonesian horror maestro Joko Anwar’s “Satan’s Slaves: Communion,” the sequel to his 2017 zombie hit. The writer-director took care to not forget the fun … Continue reading →

First time they’ve shared the credits since “Pulp Fiction?” Granted, both have seen a lot of better days since then, better days that wound down long before now. This thriller rolls out Nov. 11. “

Imagine a “West Side Story” where the gang-bangers are unisex toughs and the squares are forced to confront their own unspoken gender identity issues, all set on neon-soaked sound-stages dressed with 1950s props and “Cabaret” decadence. That’s “Please Baby Please,” … Continue reading →