This is a western where you might feel “wrung dry” by the end. It’s a bit of a spoof on westerns in general, but it is also serious in demonstrating that black faces were ubiquitous throughout the post Civil War west, even among the cowboys. The subject of the movie, Nat Love, was actually a cowboy sometime […]
We meet Tony (Roth) and Chris (Krieps) as they are getting on a ferry to Fårö Island, home for 40 years of the renowned writer/director of Swedish films, Ingmar Bergman. And you can see why he lived there so long; it is lush and evocative of special island places. But place is not the issue or main point in
I can’t think of any movie I would want to see three times back-to-back. But that is a little like viewing The Last Duel. It is supposed to be a story told from different points of view, but since the versions are not all that different from one another, the effect is repetitiousness. Why am I seeing the same
This surreal production written by Sjon (poet/novelist/lyricist, known for von Trier’s Dancer in the Dark) and writer-director Valdimar Johannsson based on Nordic legend, creates an otherworld kind of experience. The first part depicts the lives of Maria (Rapace) and Ingvar (Gudnason) on their sheep farm in Iceland where they obviously work very hard but seem not to
Quintessential Bond with the complex plot, hair-raising chases, pretty women, and lots of booze and gadgets. Bond (Craig)—who has “disappeared” after seeing that arch-enemy Blofeld (Waltz) is incarcerated—is found in Jamaica by his old friend, CIA officer Felix Leiter (Wright), after Bond has just unceremoniously put his girlfriend Madeleine (Seydoux) on the train because of his
Silly; as it’s meant to be. This version’s entertainment focuses on Dr. Strange (Hader) who is claiming that there was a mix-up at Wednesday’s (Moretz) birth and that she is actually his daughter. “Isn’t it obvious?”, he says; she clearly has inherited his scientific talents. This seems to play into Wednesday’s recent plans where—she being a teenager—is feeling ashamed of
What a disappointment. Writer-director Alissio Della Valle has whipped up something that is supposed to be an art intrigue, but the production from writing through editing leaves much to be desired. If I hadn’t been going to review it, I would have exited before the end. The script is so mundane it’s close to being hilarious in scenes
By now you have seen the trailer, read my thoughts from the world premiere at TIFF, and heard how “Dear Evan Hansen” has been drug through the social-media mud all before hitting theaters. That begs the question, is the film adaptation of the Tony Award Winning “Dear Evan Hansen” really that bad? The answer will
This film might have had potential, but it needed disciplined editing; way too many dramatic elements were included, resulting in a hodgepodge that strains credulity, especially at the end. Antonio (Chon) is a tattoo artist who has trouble finding a job to support his wife Kathy (Vikander) and their two children, one a newborn. He often
“I’m more dramatic than people like me to be,” Tammy Faye (Jessica Chastain) says upon first meeting her future husband. “The Eyes of Tammy Faye” isn’t short on dramatics; in fact, this story would seem like fiction if the rise and fall of Jim and Tammy Bakker wasn’t so highly publicized in the late ’80s.