Alison Brie

Movie Review: Promising Young Woman (2020)

Early in Emerald Fennell’s biting and insightful Promising Young Woman, protagonist Cassie (Carey Mulligan, “Suffragette”) is catcalled by a group of workmen. It is a depressingly common scenario — a woman subjected to sexual objectification, for little reason other than men want to and can. But writer-director Fennell and star Mulligan strike a pose in…

Movie Review: The Rental (2020)

The Rental is a film that offers many generic elements. It combines aspects of horror and thriller, and within those we find features of the surveillance and home invasion sub-genres, and also the well-worn slasher. The characters are combinations of private, professional and political concepts, and the clashes between these form much of the drama…

Movie Review: The Post (2017)

If The Post was little more than a piece of agitprop beating the drums for the value of a free press in a democracy, it would more than justify its reason for being. The fact that it is so much more is a testament to the skills of director Steven Spielberg and the talents of…

Movie Review: The Disaster Artist (2017)

The Coen Brothers. Paul Thomas Anderson. Quentin Tarantino. When you think of great American directors who defined the first decade of the new millennium, these are a few of the usual suspects. When we reflect upon the current decade, it would be unwise to neglect the rise of an unusual directorial talent: James Franco. No…

Movie Review: The Little Hours (2017)

Can an independent comedy about 14th-century religious debauchery involving naughty nuns be a legitimate rib-tickler in a sluggish summer movie season of wacky, yet toothless, farces (e.g., “The House”)? Refreshingly it can be, especially if it is writer-director Jeff Baena’s boisterous and bawdy The Little Hours, a corruptible comedy that brings its satirical cynicism to…

Movie Review: How to be Single (2016)

Some romantic comedies can be conventional in nature and not really want to invest in anything substantive beyond the familiar follow-the-dots formula of lightweight lunacy. In director Christian Ditter’s romantic romp How to be Single the gloves come off and are thrown in an entirely different direction. Sure, one can applaud Ditter for not hanging any…

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