An ugly, joyless, uninspired, lazy legacy rehash, this new ‘Road House’ is a letdown from the first punch to the last.
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Warren Cantrell
“The ceremonies are a two-hour meat parade, a public display with contrived suspense for economic reasons.” -George C. Scott Lol…two hours: if only. The Academy Awards are Sunday, and this year’s meat parade is an interesting one to say the least. Precursor awards like the Golden Globes, BAFTAs, and SAG Awards have seen little variation […]
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[Rating: Solid Rock Fist Up] In Theaters Friday, March 1 Kind of like a rock concert that blasts the enamel off your teeth despite an overzealous and extended version of “Moby Dick” halfway through, Dune: Part 2 is the full, blissful, challenging, comprehensive, and exhaustive artistic experience. A mesmerizing visual feast brimming with the absolute […]
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[Rating: Minor Rock Fist Down] In Theaters and on VOD Friday, February 9 A patchy collection of road trip horror stories buttressed by a vaguely coherent emotional thru-line, Willie and Me feels less like a fully realized movie and more like a hazy first draft. Devoid of any humor, character growth, or relatable conflict, the […]
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A competent and technically proficient “who can you trust?” thriller, “I.S.S.” is a conflict movie in search of character.
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‘American Fiction’ is a refutation of any kind of performative art that claims to serve something or someone without listening to them.
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‘Ferrari’ is a mixed bag of uneven performances arranged by a casting department without an atlas and a script without a compass.
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Cooper throws the whole bag of awards season tricks at the wall in ‘Maestro,’ sacrificing visual and thematic cohesion to the artistic shotgun approach.
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Haunting, stark, and honest in ways that movies rarely dare to be, ‘The Zone of Interest’ is as merciless as its featured characters.
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‘Rustin’ is a fitting, though sometimes uneven, tribute to a man more than worthy of some credit for his work behind history’s curtain.
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A fragment of a good idea burdened by a lack of company, ‘Screwdriver’ has only one storytelling move and little else to support even that.
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‘Divinity’ is an organized collision of bad choices and even worse execution.
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It looks good and is stocked with quality performances, yet nothing about She Came to Me comes across as relatable or actionable.
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An interesting idea with good intentions smothered by clichéd writing and sophomoric directing, Miranda’s Victim is a clinic in telling vs. showing.
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Crammed full of heart, genuine emotions, and the thrill of an underdog fighting to the top of the heap, Cassandro is ‘Rocky’ with glam and no gloves.
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