Writer/director Greta Gerwig (“Lady Bird”) puts a contemporary spin on Louisa May Alcott’s nineteenth century classic novel in Little Women, now in its eight film version. Alcott’s semi-autobiographical story about four sisters growing up in Concord, Massachusetts during and after the Civil War stands out for its warmth and celebration of family, its exquisite period…
Critically acclaimed filmmaker Steve McQueen (“12 Years a Slave”) makes his triumphant return in the form of the modern crime thriller Widows, a film that is as familiar to McQueen’s drama heavy filmography as it is opposing to the historically driven stories he’s become internationally recognized for. Carried by one of the more commanding female…
Bohemian Rhapsody certainly did not have the smoothest of beginnings, with Sacha Baron Cohen (“Borat”) — who was first slated to pick up the mantle of Freddie Mercury — leaving due to creative differences. Cohen wanted to go down a more authentic, grittier road, a road paved with rampant sex scenes and pornographic amounts of…
Steven Soderbergh’s reputation as an iconic filmmaker who has retired and unretired multiple times seems contradictory when watching one of his new movies, not merely because the movie exists, but also because his work feels like the product of someone who is always moving, always trying, always doing. Much of his focus in the past…
One rule that definitely SHOULD apply for Rules Don’t Apply, “Thou shalt not let your main and most interesting character be overshadowed by two supporting actors that have neither the chemistry or the intrigue to carry a short feature, let alone a two-plus hour one.” But, like the moldy 1994 romcom, “I.Q.,” where Walter Matthau’s…
When everything in your life is looking rosy, there is always someone who will tell you that your happiness is on shaky ground. Though most of the time these naysayers will not profit from your misfortune, such is not the case in The Big Short, Adam McKay’s (“Anchorman 2: The Legend Continues”) hard-hitting comedy/drama about…
Cameron Crowe’s latest film, Aloha, his first larger scale project since 2011’s “We Bought a Zoo,” does not, unfortunately, come with the zest and alacrity of it or some of his earlier better works, like “Jerry Maguire.” It is light-hearted, well-intentioned (Hawaiian virtues are espoused) fare tailored to an audience that sees space as something…
