(CLICK HERE to read my full review in the Arkansas Democrat-Gazette) When talking about movies, there are countless examples of utterly absurd ideas that somehow found funding and made their ways to the screen. At the same time, when put in the hands of smart filmmakers, the silliest concepts can sometimes be turned into something … Continue reading
First Glance: “Triangle of Sadness”
The latest film to take a satirical bite out of the wealthy and privileged comes from Swedish director Ruben Östlund (“Force Majeure”, “The Square”). It’s “Triangle of Sadness”, the Palme d’Or winner at this year’s Cannes Film Festival. This is Östlund’s first English-language feature film, and after navigating several COVID-19 delays, this biting dark comedy … Continue reading
REVIEW: “Emily the Criminal” (2022)
When it comes to Aubrey Plaza, most people immediately think of her quick-witted poker-faced style of humor. And rightly so. The 38-year-old Delaware native has mastered the art of dry deadpan comedy, and her steely stare along with her pitch-perfect comic timing have become signatures. For that reason it may be easy to forget that … Continue reading
REVIEW: “Rogue Agent” (2022)
I swear, there must be 100 movies with titles similar to “Rogue Agent” (and I bet I’ve watched and/or reviewed half of them). But generic name aside, this new British drama/thriller very much has a feel all its own. It’s a slow-burning yet meticulously paced fact-based story that takes its time setting up its pieces. … Continue reading
REVIEW: “Thirteen Lives” (2022)
Ron Howard returns to the director’s chair for the new biographical survival thriller “Thirteen Lives”. The film is a dramatization of the 2018 Tham Luang cave rescue. That’s when twelve members of a junior soccer team, their ages ranging from 11 to 16, along with their assistant coach were trapped deep within Tham Luang cave … Continue reading
First Glance: “The Banshees of Inisherin”
Primed and ready for its festival circuit run, “The Banshees of Inisherin” has released its first trailer. This is a film from Martin McDonagh, his first since 2017’s shaky but beloved “Three Billboards Outside Ebbing, Missouri”. His latest sees him reteaming with his “In Bruges” partners Brendan Gleeson and Colin Farrell. This first look at … Continue reading