Author Archives: Roger Moore

“Spree” is another tale of socially-isolated/socially-networked lives of quiet desperation gone haywire, a commentary on an amoral age when it’s all about “getting noticed,” no matter how you do it. As a technical exercise in filmmaking within a small space, … Continue reading →

  In 2017, the silent melodrama “Shiraz: A Romance of India” earned a restoration by the British Film Institute. It’s what you got when a German director tackled a British script based on an Indian historical romance play back in … Continue reading →

“Almost Love” is one of those soapy romances set in that “fantasy” New York where broke people and the affluent mingle, and the broke, young and hip can somehow afford to live there at all. It almost works. The characters … Continue reading →

With Gawd as my witness, I swear I had never heard of “Tiptoes,” a cinematic debacle like few others. This is “The Room” packed with future Oscar winners. A “little people” comedy with Gary Oldman playing a dwarf, it was … Continue reading →

Brisco (Chris Mulkey), the commanding officer, strides into the tent of his elite multi-national commando team. “How’s it going?” he wants to know. “Sh—y, sir.” “War is hell,” he growls. Kind of what passes for a joke in the never-ending … Continue reading →

Johnny Leggs also directed this feel good story about one Miami teacher changing lives, one castling at a time — opens in September.

Years after his time in Hollywood, where the great French director Jean Renoir (“The Rules of the Game,” “The Grand Illusion”) spent World War II, he related how cultural stress and strife is the crucible for great art. All Hollywood … Continue reading →

An Arabic post-apocalyptic thriller about survivors fighting over the little water that’s left? The pitch alone is enough for “The Worthy” to make one intrigued. Filmed in Bucharest, financed in the United Arab Emirates and directed by a UAE native/London … Continue reading →

Feed Hampton, the charismatic Illinois Black Panther, and his betrayal by an FBI informant. The Revolution will not be televised. It will if theaters don’t open soon.

“Made in Italy” goes down easily, like an unassuming Chianti that doesn’t drown the taste of the pasta. It stumbles out the door, and staggers a bit at the end of the evening, a wino back off the wagon. But … Continue reading →