As we learn at the start of I’M YOUR WOMAN, Jean (Rachel Brosnahan) is living a life of comfort, security, and irritating tedium in 1970s suburbia. Ensconced in a mid-century classic in an affluent neighborhood, she is quietly smoking as she goes over where her life when wrong, as in not having children with her… Read More »
FATALE
FATALE is a densely plotted and devilishly twisted erotic fantasy of a noir. Filmed with self-conscious style, it offers a variation on FATAL ATTRACTION that is not without merit, yet with a bemused view of womanhood that gives one pause. We are firmly ensconced in the, admittedly noir Madonna/whore paradigm here, but making a woman… Read More »
ANTEBELLUM
Of the many neat twists in ANTEBELLUM, the most disturbing of all is the one that concerns the state of race relations in the modern day, and how slavery still informs it. By contrasting the subtle, and not so subtle, micro-aggressions forced upon people of color in the present with the brutality of slavery as… Read More »
I SAW THE LIGHT
I SAW THE LIGHT was originally set for an autumn 2015 release with an eye towards positioning Tom Hiddleston’s performance as Hank Williams for Oscar™ consideration. I can see why they thought there would be awards buzz. I can also see why they pulled it from its original release date. Hiddleston is brilliant as the… Read More »
WANDER DARKLY
WANDER DARKLY is the antidote to the generic rom-com. Set in the subjective viewpoint of a woman who is convinced that she is dead, it explores a relationship gone wrong using the unencumbered honesty of retrospection. The woman is Adrienne (Sienna Miller), who is always quick to point out that the father of her infant,… Read More »
MEGAN LEAVEY
There is nothing more endearing that the story of a dog and its loyal owner, and this is eminently the case with the fact-based MEGAN LEAVEY. Usually the stuff of sentiment of the most syrupy nature, these stories usually inhabit a special sub-genre of family-friendly flicks designed to reassure the intrinsic goodness of the family… Read More »
GUARDIANS OF THE GALAXY, VOL. II
When GUARDIANS OF THE GALAXY blazed into theaters a few years back, it set a high standard for effects-laden sci-fi played for laughs. Volume II has now blazed into theaters, but that standard has not quite been met. This sequel drifts a bit into maudlin sentimentality that has no place in this particular universe, even… Read More »
THE ASSIGNMENT
The subject matter in Walter Hill’s THE ASSIGNMENT will make half the audience cringe in a way that the other half, no matter how empathetic, won’t be able to fully understand. And that’s sly. This brutal exercise in gender studies, masquerading as a biting action-noir fable, is rife with irony and with bald truths designed… Read More »
A CURE FOR WELLNESS
Playing on the most primal of fears is a time-honored horror tradition. And Gore Verbinski’s A CURE FOR WELLNESS does just that. And then continues to do so for an unwarranted running time of around two-and-a-half hours. This hodge-podge of dental torture, putative madness, and a very clumsy use of eels as metaphor wears out its welcome well before the final credits roll, skittering at the end, and pell-mell at that, towards an ending that is painfully obvious and even more painfully trite.
A MAN CALLED OVE (En man som heter Ove)
When we meet the title character of A MAN CALLED OVE, he is having a very bad day. Squabbling with shop clerks, policing his neighbors regarding littering and pets, and being fired at almost 60 from the job he’s had since he was 16. Ove’s face is a study in dour dyspepsia, and his attitude… Read More »
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