‘Division 19’ is The Hunger Games meets The Truman Show, with just a hint of V for Vendetta, yet bad. Really, really bad.
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Warren Cantrell
‘Dragged Across Concrete,’ like Mel Gibson’s casting in it, works better in theory than in practice if a person thinks about it for more than a minute.
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‘Finding Steve McQueen’ is an interesting (albeit uneven) trifle, pairing true crime hijinks with meaningful introspection and character work.
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[Rating: Solid Rock Fist Up] A sober exploration of family, tradition, honor, greed, and colonialism, Birds of Passage (showing now at the Tivoli) slices through expectations to present a film that is laser-focused on a specific time, people, and place. Tracking the birth of the modern drug trade in Columbia during the second half of […]
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Captain Marvel is the story of an alien-human hybrid with near-limitless powers and a rare example of a female-fronted superhero film in a genre that often positions women in supporting roles. This got Scene-Stealers thinking about the best examples of female comic book superheroes in film, as there have been many great examples (along with several bad ones) over the years.
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[Rating: Minor Rock Fist Down] A diabolical sleight-of-hand trick that suckers its audience in with promises of mayhem spanning two different genres, The Man Who Killed Hitler and Then the Bigfoot has redefined what is possible in the realm of cinematic let-downs. Skimping on the Hitler and Bigfoot action only to delve into the heart […]
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‘Then Came You’ seems content to just trample over Manic Pixie Dream Girl story beats and characters that don’t offer anything new to the formula.
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‘Vice’ follows up McKay’s masterful work with ‘The Big Short’ by blending dynamic character work with a large-scale sociopolitical autopsy.
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A deep in the weeds historical epic, Mary Queen of Scots takes a big bite, yet finds trouble in the chewing.
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To celebrate the upcoming release of ‘Vice,’ today’s Top 10 ranks the best V.P. performance in movie history, weighing screen time, character integrity, and the quality of the performance itself.
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Light, refreshing, optimistic, and altogether lovely, ‘Mary Poppins Returns’ is everything a fan of the original could hope for.
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‘Roma’ is a stunning tour de force from a craftsman operating at the absolute peak of his game.
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‘A Private War’ successfully details the human cost of conflict on those that engage in it, but also amongst those along the fringes.
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A micro-exploration of a family’s disintegration, Paul Dano’s ‘Wildlife’ is a study in love, regret, and the all-too-rapid advance from adolescence into adulthood. It also gets the dreaded Swiss Fist rating: complete neutrality.
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Suspiria 2018 retains all of the flaws of the original with none of the charm.
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