The horror in THE BLACK PHONE, and very effective horror it is, comes not primarily from the serial child killer on the loose in a suburban enclave of Denver in 1978. Played with a geeky, creepy panache by Ethan Hawke, The Grabber, as he is dubbed by the police and the populace of this all-American… Read More »
THE NORTHMAN
Those familiar with HAMLET will find some familiar things in Robert Eggers’ THE NORTHMAN, and that is no coincidence. The source material for both is Sjón’s Gesta Danorum (circa 1200) about a prince with both mommy issues and a usurping uncle. Where Shakespeare adapted the story to his time creating an elegantly and eloquently melancholy… Read More »
TESLA
Quiet in tone, and visually arresting, TESLA tells the story of a man whose perspective had only the most tangential relationship to that of the mere mortals who surrounded him. Michael Almereyda film echoes that with a high-minded tone-poem that mixes fact and fiction to achieve an emotional and intellectual, if not factual, truth. The… Read More »
THE TRUTH (La Vérité)
In Hirokazu Koreeda’s last film, the Oscar®-nominated SHOPLIFTERS, he incisively examined the ethics of capitalism, and its effects on one poverty-stricken, yet devoted, ragtag family ingeniously doing battle with a system designed to keep them down economically. In THE TRUTH, he moves the action from Tokyo to Paris to examine the ethics of veracity on… Read More »
MAGGIE’S PLAN
The eponymous Maggie of MAGGIE’S PLAN is a wisp of a winsome waif, a college career counselor with a gentle demeanor and a determined resolve that can move mountains. As played with a solemn quirkiness by Greta Gerwig, she is a woman who aims to live both honestly and ethically. Alas, her aim is less… Read More »
REGRESSION
Alejandro Amenábar directed Nicole Kidman to one of her best performances in THE OTHERS, a horror film that was both haunting and clever. The full review of that fine film is here, and I recommend watching that instead of REGRESSION, a film that is equally atmospheric, but diffused in its mounting terror, rather than sharply… Read More »
DAYBREAKERS
DAYBREAKERS is a film that has run through 99% of its good ideas by the time the opening credits have concluded. At least the stylish, if occasionally obvious, art direction gives the audience something to occupy its collective self as the half-baked tale unfolds. The time is 2019, and a bat-borne plague has turned all… Read More »
BROOKLYN’S FINEST
BROOKLYN’S FINEST is an object lesson in situational ethics played without the comforting buffer of impersonal hypothesis. The eponymous cops in question are neither heroes nor villains, rather they are basically decent guys pushed to the limits that have warped their perceptions of right and wrong as considered moment by moment. Not for them is… Read More »
SINISTER
SINISTER has the all too rare virtue of being a horror film with a fine gloss of originality and genuine surprise to it. Rather than going for the usual assortment of jump-and-scare tactics, it broods atmospherically on the evil that humankind is capable of, and not necessarily the gruesome acts of violence on which the… Read More »
WAKING LIFE
WAKING LIFE is that rarest of films, one that is unique. Take one slacker and cycle him, or at least his consciousness, through a series of conversations, lectures really, by devotes of different philosophies. But more, take the film footage and put it through an animation technique called interpolated rotoscoping and what you get is,… Read More »