Author Archives: Roger Moore

I won’t say I was in a tiny minority of reviewers who praised the charms of “Miss Potter” when it came out in late 2006-early 2007. But I was a bit of an outlier in being swept away by its … Continue reading →

Joel Coen’s directing the adaptation A24 will put in theaters and AppleTV will stream, a little Shakespeare coming our way performed by two of the very best American acting has to offer. “I will not be afraid of death and … Continue reading →

Omar is a Syrian refugee who maintains a poker face even as he gives us a glimpse of the full emotional range of the “displaced person experience.” He is sad, deflated, guilt-ridden and powerless. Surely “hopeful” figured in there at … Continue reading →

As “Saw” movies go, “Spiral,” the latest film “from the Book of Saw,” isn’t one of the worst in the never-ending franchise. It’s not one of the best, either. This thriller sits on the gory edge of the blade, teetering … Continue reading →

What fresh nonsense is this? Well, “fresh” is maybe a tad generous. “Undercover Punch and Gun” is a jokey Hong Kong action pic with first-person shooter video game gunfights, martials arts mayhem, terrific stunts and some pretty damned funny one-liners. … Continue reading →

“Dark Forest” is a German police procedural that is less about tracking down a serial killer than about the ripple effects of random, senseless violence and the pain of not-knowing what’s happened to a loved one who simply vanishes. There’s … Continue reading →

A Welsh cattle and pig farm evolved over the decades to become the world’s first “residential recording studio” in the late 1960s. Musicians could go there, isolate, create and live under the same roof — almost dormitory style — as … Continue reading →

When is a surprise twist no surprise at all? When the movie starts to make no sense without that inevitability, that’s when. “Antidote” opens with an unexplained hanging and leaps straight into a woman (Ashlynne Yennie) rising from her bed … Continue reading →

July 30, this one hits theaters.

A problematic play became a troubled film shoot and then a box office bomb when Tennessee Williams, Sidney Lumet, Brando and United Artists took a shot at “Orpheus Descending,” the play that became “The Fugitive Kind” back in 1960. It’s … Continue reading →