The opening credits to Guy Ritchie’s expensive “King Arthur” revision, features cheap looking fonts and perplexing imagery. A large tower with fire coming out the top and no accompanying sound. A second opening sequence is a prologue to the tale we are about to watch and then finally, twenty minutes in, “Warner Bros presents” is […]
Richard Gere is on double duty this week, with two new releases. Norman is the better of the two, giving the salt and pepper haired actor his first multilayered role in years. Norman functions like a 90’s Woody Allen, complete with the a frantic, inappropriate and nervous leading character. Gere wouldn’t have been my first
Significantly better than the first one, “Guardians of the Galaxy” is still Marvel’s sitcom, but “Vol. 2” uses emotion in the third act and inserts more dynamic female characters to its benefit. While the plot line still involves saving the universe (something I keep hoping Marvel writers will tire of) the theme of family and
The author of the novel, in which this film (and two other foreign films) is based, walked away from the premiere. He said this was the worst adaptation yet. Writer/director Oren Moverman’s The Dinner is quite frustrating, it buries the lead if you will, until the end of act two. The Dinner is almost set
When your film is directed by a former reality star, you can only expect so much. How to be a Latin Lover opens like a Ferell/Stiller type comedy, with an explosive death scene played for laughs rather than heartbreak. That low brow comedy remains through the entire film, nearly mirroring Adam Sandler’s Big Daddy. The
Come take a leisurely stroll over the scenic Chinese countryside in the greatest of comfort—unlike that for the filming crew which lugged their equipment, trudging up and down mountains in all kinds of weather to allow us this indulgence. Disneynature’s Born in China, expertly directed by Chuan Lu and grandly photographed by six artists (Irmin
Unforgettable’s weak plot contrasts with strong performances of the main characters. After a traumatic childhood and recent past, Julia (Dawson) is eagerly anticipating her new life with David (Stults), someone who seems ideal—sensitive, caring, and responsible. He has a lovely house in California and gives her his grandmother’s ring upon their engagement. Julia is initially
James Gray’s The Lost City of Z is a captivating trek through history, exploring one of the most fascinating mysteries of the 20th Century. It’s not always compelling however, as the source material is grand (I’m told the book is far more suspenseful), despite omitting vital and important facts of Percy Fawcett’s ground breaking expedition.
Terry George’s The Promise has suffered a terrible roll out since debuting last year at the Toronto Film Festival. The historical Armenian genocide romantic war drama comes on the heels of another, The Ottoman Lieutenant and a slew of other World War I flicks released this spring. Compounded with Turkish government-sponsored trolls who submitted 4000
Ben Wheatley’s follow-up to High Rise is just as divisive. The entire movie takes place in a warehouse with a 90-minute shootout. Each of the characters, about 15 of them total, are split into two sides, like Battleship. We get brief introductions before they take sides and begin shooting at one another. The cast most