movie review

  • Screen Savor: 'The Last Word’ Left Me Speechless In A Bad Way

    Harriet Lauler (Shirley MacLaine), the main character in “The Last Word” (Bleecker Street), likes to have, well, the last word. A successful and wealthy retired businesswoman in her early 80s, Harriet made a name for herself, running her own ad agency at a time when it wasn’t as common as it is now.

  • Screen Savor: ‘Landline’ is Disconnected

     If you loved Gillian Robespierre’s 2014 feature film debut, the brilliant and poignant pro-choice comedy “Obvious Child,” then you are probably going to be more than a little disappointed by her second movie “Landline” (Magnolia). This viewer was.

  • Screen Savor: ‘The Little Hours’ Delivers Big Laughs

     Writer/director Jeff Baena’s irreverent reimagining of parts of Bocaccio’s 14th century fictional work “The Decameron,” complete with 21st century vernacular, is so bawdy it would make Monty Python blush. The humor, much of which is derived from the use of modern language in a 1347 setting, is almost non-stop and is sure to leave audience members leaving with huge, if slightly off-kilter, smiles on their faces.

  • Screen Savor: "A Very Sordid Wedding" of Love and Hate

     

    Written and directed by Del Shores, “A Very Sordid Wedding” (The Film Collaborative), the sequel to 2000’s hit gay comedy “Sordid Lives,” picks up 17 years after the comedically catastrophic events of the first film. How comedically catastrophic, you ask? An elderly woman having an affair with a married double amputee, trips over his prosthetic legs and dies from hitting her head on the sink in the bathroom of a sleazy motel. How’s that?

  • Screen Savor: “20th Century Women” is a Wasted Opportunity

    “20th Century Women”(A24) is such a major disappointment; it’s almost difficult to put it into words. In fact, it’s hard to believe that this chaotic mess is the work of writer/director Mike Mills, the man behind the Oscar-winning 2010 gay movie “Beginners.” Where that movie was effortlessly balanced and emotionally on the level, “20th Century Women”is sloppy, forced and unpleasant. It’s a complete waste of the talents of Annette Bening, on par with Ryan Murphy’s abysmal “Running With Scissors.”

  • Screen Savor: “Before I Fall,” Not Falling for It

     

    Poor February. As if it isn’t bad enough that it’s a cold and dreary month throughout much of the United States, it’s also the month rewarded with the dubious honor of being the shortest, as well as the one to which a day is added during leap years. To add insult to injury, there are also the complications that come with Groundhog Day (Feb. 2) and Valentine’s Day (Feb. 14).

  • Screen Savor: “Get Out” for Laughs and Shocks

    Don’t be put off by the “Guess Who’s Coming To Dinner” meets “The Stepford Wives/Rosemary’s Baby” vibe of “Get Out” (Universal), because Jordan Peele’s mind-blowing debut as writer AND director, is so much more. It’s a smart comedy, a reverent and referential horror flick, and it’s a meaningful statement about race in the age of Trump. It’s also the first step to forgiving Peele for 2016’s abysmal “Keanu.”

  • Screen Savor: “Monster,” Inc.

    When Oscar (Connor Jessup) was a little boy, instead of telling him a bedtime story, his father Peter (Aaron Abrams) would give him a “dream.” As he made up the dream for Oscar’s sleep, Peter would also blow up a balloon, hold the opening to Oscar’s forehead and let the air escape. This is a wonderful image and not the most surreal one in “Closet Monster” (Strand Releasing) by a long shot.

  • Screen Savor: #BlackLivesMatter

    It’s been said that timing is everything. Raoul Peck’s James Baldwin doc “I Am Not Your Negro,” opening in theaters in the wake of Representative and civil rights icon John Lewis’ public feud with President Trump, is proof positive of that. Owing as much to recent film such as “Selma” and “Birth of a Nation” as it does to “Hidden Figures” and “13th,” “I Am Not Your Negro” is required viewing.

  • Screen Savor: A “Free Fire” in the Belly

    Sam Peckinpah meets Quentin Tarantino with a splash of Martin Scorsese in Ben Wheatley’s bullet-riddled and chaotic (and thankfully brief) shoot `em up “Free Fire” (A24). Set in an abandoned Boston factory in the late 1970s, Free Fire is what happens when a black-market arms deal goes awry.

  • Screen Savor: A Monster Calls in ‘Colossal’

    Anne Hathaway and Jason Sudeikis have "Colossal" problems. (Neon)

    “Colossal”(Neon) is a monster movie that has as much to do with inner demons as it does with the physical manifestations of those with the power and determination to level a city the size of Seoul, South Korea. A very adult take on “A Monster Calls,” writer/director Nacho Vigalondo’s “Colossal” has a lot to say about women, men and alcohol abuse.

  • Screen Savor: Being 'The Beguiled'

    “The Beguiled” (Focus), Sofia Coppola’s beguiling and award-winning remake of the 1971 Clint Eastwood vehicle, is set in 1864 Virginia, three years into the Civil War. Miss Martha Farnsworth (Nicole Kidman) runs a no-nonsense boarding school for girls. Due to the instability of the period, the student population has been reduced to five pupils – Alicia (Elle Fanning), Amy (Oona Laurence), Jane (Angourie Rice), Marie (Addison Riecke) and Emily (Emma Howard). Martha is assisted in her instruction duties by Edwina (Kirsten Dunst).

  • Screen Savor: Feat of Strength

    Stronger (Lionsgate/Roadside Attractions) is the second big-screen Hollywood dramatization of the 2013 Boston Marathon bombing, following 2016’s Patriots Day. Like that film, Stronger doesn’t shy away from the gruesome details, while also providing a relatable portrait of what it means to be Boston Strong.

  • Screen Savor: Hungry for Humor

     Salma Hayek is having quite a year. Her scene-stealing performance in “The Hitman’s Bodyguard” confirms her skills as comedian. But it’s in the black comedy “Beatriz at Dinner” (Lionsgate), now available on DVD, that she shines brightest, potentially leading to an Oscar nomination. Written by queer writer/filmmaker Mike White and directed by Miguel Arteta (the man behind gay-oriented films “Chuck and Buck and Star Maps”), “Beatriz at Dinner” perfectly captures the dark mood in the age of Trump.

  • Screen Savor: Say Oui to “Paris 05:59”

    “Paris 05:59: Théo & Hugo” (Europa/Epicentre), co-written and co-directed by Olivier Ducastel and Jacques Martineau is a timely and sensitive reminder of the current state of things in the world of gay sex. The lengthy, erotically-charged and sexually graphic opening sequence takes place in a sex club where the red-lit lower level is swarming with writhing naked men engaging in various sex acts.

  • Screen Savor: Sense and Sensibility

     Based on the novel by Julian Barnes, Ritesh Bartra’s “The Sense of an Ending” (CBS Films) will probably remind some audience members of gay filmmaker Andrew Haigh’s marvelous “45 Years,” and that’s not only because both films starred Charlotte Rampling. The common thread is that the main male characters in both films receive letters that stir up the dust of their pasts.

  • Screen Savor: T2 Trainspotting Is Spot On

    It’s been 20 years since the last time we saw unrepentant junkie and thief Mark (Ewan McGregor) in the original Edinburgh-set “Trainspotting.” At that time, he was waffling between addiction and sobriety. Even in that condition he had enough clarity to screw his best friends Simon aka Sick (Jonny Lee Miller), gentle Spud (Ewen Bremner) and violent-tempered Franco (Robert Carlyle) out of a massive sum of money in a drug deal scam.

  • Screen Savor: Table 19 is a Wedding Crusher

    If you’ve ever wondered what became of the early 21st century cinematic genre known as mumblecore (and who among us hasn’t?), a hokey style that launched the career of Greta Gerwig (gee, thanks!), you need look no further than Table 19 (Fox Searchlight). Co-written by mumblecore progenitors and brothers Jay Duplass and Mark Duplass, "Table 19" is one of the most unappealing rom-coms in recent memory.

  • Screen Savor: The Zookeeper’s Wife is No Zootopia

    In the pantheon of holocaust cinema, “The Zookeeper’s Wife” (Focus) isn’t as powerful or epic as “Schindler’s List,” but neither is it as dreadful as “The Boy In The Striped Pajamas.” Landing somewhere in between, the film, based on the book by Diane Ackerman, tells the true story of the titular Antonina Żabińska (played by Jessica Chastain), and her husband Jan (Johan Heldenbergh), and their roles in the Polish underground resistance during World War II.

  • Screen Savor: What’s Not So Funny

    Remember that movie “Danny Collins”where Al Pacino played the washed-up rock star trying to make amends for his bad behavior? Don’t worry, neither does anyone else. Similarly, “The Comedian”(Sony Pictures Classics) may meet the same fate. In the tradition of unfunny movies about comedians (see the Tom Hanks/Sally Field flop “Punchline” and Adam Sandler’s “Funny People”), “The Comedian”is short on laughs and long on scenery chewing.