Eric Fellner

Movie Review: King of Thieves (2018)

It feels as if Michael Caine (“Going in Style”) has been making movies like King of Thieves for decades, movies in which is character is so, so old and so, so tired of it all. You’d be tired as well, if you had to work on movies like this. One last score, one last big…

Movie Review: Mary Queen of Scots (2018)

Mary Queen of Scots, Josie Rourke’s interpretation of rival queens in the 16th century is stilted and anticlimactic, with poor pacing and a weak screenplay that casts a rather conspicuous shadow over its two prominent leads, Saoirse Ronan (“Lady Bird”) and Margot Robbie (“I, Tonya”). Rourke, long affiliated with the London stage (she’s the artistic…

Movie Review: Darkest Hour (2017)

Allen Packwood, director of the Churchill Archives Centre referred to former British Prime Minister Winston Churchill as an “incredibly complex, contradictory, and larger-than-life human being.” This complexity is lost, however, in Joe Wright’s (“Pan”) Darkest Hour, a look at a crucial time in British Prime Minister Churchill’s stewardship that covers the period from May 10,…

Movie Review: Victoria and Abdul (2017)

Based “mostly” on a true story (in other words, fictional), Stephen Frears’ (“Florence Foster Jenkins”) Victoria and Abdul is an ode to the warmth of simple friendship and the wonders of British colonialism. Based on the book by Shrabani Basu with a screenplay by Lee Hall (“War Horse”), it is an engaging film about the…

Movie Review: Baby Driver (2017)

For more than a decade, Edgar Wright has risen to become one the world’s more interesting filmmakers by innovating the action-comedy genre through homage and sharp satire with films like “Shaun of the Dead,” “Hot Fuzz” and “The World’s End.” Now Wright returns to bring his unique spin on the action-thriller genre. His foray, Baby…

Movie Review: Legend (2015)

One’s enjoyment (or better yet, interest) in Legend, as written and directed by Brian Helgeland (an Academy Award winner for “L.A. Confidential” and a Razzie winner for “The Postman”), will most likely hinge on one’s ability to understand the deep Cockney accent everyone speaks here (even a universal translator would not help with much of…

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