Suburbicon, the worst and even worse timed movie of the year, feels like someone put “Pleasantville,” “Fargo,” and the Vault Tech initiation videos from the Fall Out video game franchise into a blender in a grotesque, heavy on the white-splaning approximation of the recipe for “Do the Right Thing.” The resulting slop, entirely missing ingredients…
One of the important messages of Thank You for Your Service, first-time director Jason Hall’s perceptive drama about the physical and psychological effects of war, is that returning veterans need to be able to talk about what happened in combat and how they have been personally affected by it. Too often, however, friends or loved…
From Joe Lynch, director of “Everly,” comes Mayhem, an ugly mishmash of the zombie apocalypse and tower assault subgenres. Unwisely referencing “A Clockwork Orange” in the opening, with Rossini’s “The Thieving Magpie” overlaid on some stylized ultra-violence, Derek (Steven Yeun, “Okja”) explains the “IV7” virus via narration. It’s a condition which purportedly causes the sufferer…
As you get immersed in the world of Loving Vincent you quickly realize that it is not the shiny technique alone that makes you feel as though you were floating inside Vincent van Gogh’s brushstrokes, but that, as happens with his painting, there is a profound love for the subject driving each and every frame…
We have a story in my family. I was three years old and grappling with the crisis of identity and insane jealousy that accompanied the new baby sister in my orbit. It must have been October because a small pumpkin was within my small reach. I seized said pumpkin and hurled it at said little…
The heated romantic passion of Charles Martin’s best-selling romance novel “The Mountain Between Us,” turns lukewarm in its cinematic version of the same name that stars Kate Winslet (“Collateral Beauty”) and Idris Elba (“The Dark Tower”) as a couple of strangers stranded in the frigid high-mountain snow of the Rocky Mountains. Alex Martin (an excellent…
The opening montage of dance clubs and riding motorcycles throughout the Japanese countryside flow along with an eerily tranquil score, letting audiences know from the onset that Ittetsu Nemoto is no singularly-defined monk. Filmmaker Lana Wilson and cinematographer Emily Topper (“After Tiller”) have teamed up with editor David Teague (“Life, Animated”) to explore one man’s…
