There is a dividing line for those contemplating a viewing of FUTURE ’38. It has to do with wordplay. If you love puns you will be charmed by the whole-hearted impudence of this self-conscious parody. If not, best to move along, though you will miss a fine excursion into dead-pan drollery. As premise, we have… Read More »
DAVE MADE A MAZE
The search for meaning has never been more puckishly considered than in DAVE MADE A MAZE, an ingenious horror-fantasy-comedy of existential angst. Rife with metaphor and deadly origami come to life, it finds the time-space continuum falling victim to one man’s determination to finally finish something he started, and explores the deadly results of leaving… Read More »
THE HITMAN’S BODYGUARD
In a way, it would be a shame to saddle Samuel L. Jackson and Ryan Reynolds with too much plot in THE HITMAN’S BODYGUARD. The snark fest that they provide as adversaries forced to endure one another’s company is its own reward as they travel from Manchester to The Hague while fending off some very… Read More »
THE BIG SICK
You can’t blame Kumail Nanjiani and Emily V. Gordon for thinking that the story of their romance had the makings of a great movie. Kumail (playing himself), a Pakistani immigrant doing stand-up comedy meets graduate student (in psychology, yet), Emily (doe-eyed but tart Zoe Kazan), when she “whoo hoos” him at one of his shows.… Read More »
LOST IN PARIS
The spirit of Jacques Tati is alive and well in LOST IN PARIS, a charming comedy of coincidences (or is it fate?). As stylized as it is heartwarming, it is an unexpected love story set against the magical backdrop of Paris, with every movement, from a roasted red pepper on the loose, to a love… Read More »
THE OTTOMAN LIEUTENTANT
THE OTTOMAN LIEUTENANT is a slight but eminently humane story, lushly filmed, and richly romantic. It follows the classic tropes of the romance genre, enhanced with nuanced performances that elevate what might otherwise be stock characters in a plot with few surprises. The biggest surprise being that it is so satisfying as entertainment, and as… Read More »
THE WATERMELON WOMAN
(Written on the initial release of THE WATERMELON WOMAN 20 years ago,). The opening sequence of THE WATERMELON WOMAN gives us a sly look at the social state of American affairs. An African-America lesbian is filming a heterosexual wedding. The bride is white, the groom is black and the wedding party is oh so very civilized.… Read More »
LIVE BY NIGHT
LIVE BY NIGHT is so sumptuously photographed that it can almost make up for its shortcomings. Based on the novel of the same name by Dennis Lehane, it has weathered its translation by becoming a slight story heinously overblown. It also suffers from too many false endings. So many, in fact, that I can’t vouch… Read More »
PATERSON
PATERSON is the quintessence of everything Jim Jarmusch has done before. Playful in approach, deeply philosophical in meaning, it is a lyrical evocation of joy and sorrow as lived by a bus driver/poet during one eventful yet ordinary week in his life. The bus driver (Adam Driver), his route, and the city in which he lives… Read More »
PASSENGERS
PASSENGERS is a long, increasingly preposterous slog whose most tantalizing element is the question of why Jennifer Lawrence looks so very much like a young Renee Zellweger in some shots. Has there always been such a striking resemblance, or is it that this film is so tedious and predictable that one has the time to… Read More »
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