[8] Behold the glory of Barbara Stanwyck. One of classic Hollywood’s sassiest broads makes a big splash in this early talkie that’s leagues ahead of other early 30s flicks in terms of story, craftsmanship, and performance. Babs plays a “party girl” (we know them as escorts now) who serendipitously winds up hitching a ride in the middle of the night with a fuddy-duddy artist. Both …
[8] In this Spanish film from writer/director Agustín Villaronga, a Nazi child killer is put in an iron lung after a botched suicide attempt. His wife hires a young male nurse to take care of him, but the young man becomes increasingly unhinged as he reads through the Nazi’s diaries. Once the caregiver begins re-enacting some of the Nazi’s crimes and winning over the affection …
[8] With this reinvention of Universal’s classic monster movie, writer/director Leigh Whannell (Saw, Dead Silence) delivers a superbly crafted thriller anchored by a compelling performance from Elisabeth Moss (The Handmaid’s Tale). Moss plays a battered woman who escapes her all-controlling boyfriend only to learn that he has taken his own life. She grows suspicious about his death when a strange presence begins to haunt her. …
[8] Writer/director Sam Mendes (American Beauty, Skyfall) and co-writer Krysty Wilson-Cairns bring us back to the trenches of World War I with the harrowing journey of two British officers tasked with traversing enemy territory to deliver a message that will save 1,600 of their fellow soldiers from certain death — including one of the young men’s brothers. 1917 is compelling on two different levels, infusing …
[8] If someone is going to pick up Louisa May Alcott’s much-loved literary classic, dust it off, and serve up a retelling, let it be the Oscar-nominated writer/director of Lady Bird. Greta Gerwig is respectably faithful to the material, but bold in her decision to dice the story up and deliver it in non-linear fashion. In Gerwig’s adaptation, we experience the aftermath of the March …
[8] I think one of the hardest stories to tell is a good murder mystery story. That’s why we see so few of them turned into movies. Rian Johnson’s (The Last Jedi, Looper) Knives Out is a beguiling blend of classic and farce, reminding me at times of both Clue and Murder on the Orient Express. Remarkably, its dark comedy never undercuts its dramatic tension. …
[8] I am not a fan of car racing. I couldn’t care less about it, really. But like so many other great sports movies, Ford v Ferrari isn’t really about the sport itself. It’s about the people engaged in the sport. And to that extent, director James Mangold (Logan, Walk the Line) hits a home run with this true story about two men who overcome …
[8] Ewan McGregor stars as the grown-up version of Danny Torrance from The Shining. Doctor Sleep is a sequel to that horror classic, both films based on books by the premiere horror writer of our time — Stephen King. Danny is known as ‘Doctor Sleep’ by patients of a hospice facility, where he uses his ‘shining’ ability to provide comfort to people as they transition …
[8] Movies like The Lighthouse sure don’t hit the multiplex very often. Hot off his astounding debut feature, The Witch, writer/director Robert Eggers’ sophomore effort is a horrifically surreal pitch-black comedy about two men going mad in a remote lighthouse in the 1890s. Robert Pattinson, distancing himself from Twilight fame with increasingly remarkable performances, plays the younger of the two sea dogs. His character is …
[8] On its surface, Joker is an origin story about Batman’s arch-nemesis. So at first glance, you might mistake it for ‘just another superhero’ movie. But writer/director Todd Phillips and actor Joaquin Phoenix have actually made a film that transcends the comic book genre. Joker works as a disturbing character study, an all-too timely allegory, and a provocative meditation on a theme — something we …
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