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GOON:
LAST OF THE ENFORCERS
(R)  1/2
This
sports comedy sequel ain't any good, eh
I'm
not entirely sure what GOON: LAST OF THE ENFORCERS - which is the sequel
to the 2011 cult sports comedy hit GOON - is
actually trying to say about enforcers in professional hockey. Both
films deal with the loveable punch drunk and
white knuckled hockey player Doug "The Thug" Glatt and his
unlikely journey to becoming an on ice tough guy...
Posted
September
13,
2017
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ROUGH
NIGHT (R) 1/2
Mildly
amusing, but rough around the edges
ROUGH NIGHT is
yet another hard R-rated party comedy in an awfully long and incredibly
disposable line of them that thinks it's a hell of a lot more hilarious
and novel than it actually is. Outside of this
film featuring an all female lead cast and being directed by a woman
(Lucia Aniello, making her feature film debut), there's very little if any
creative ambition on display here, which is abundantly evident within its
first 30 minutes...
Posted
September
13,
2017
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WIND
RIVER (R) 
Surviving
the silence and snow
The new
fact-based murder mystery thriller WIND RIVER once again champions
screenwriter Taylor Sheridan as a soulful and talented force in American
cinema, especially for how he deals with flawed and tragic characters set
against the foreboding backdrop of frontier life. His previous
screenplays - whether it be the drug thriller SICARIO
or last year's superbly rendered modern western HELL
OR HIGH WATER...
Posted
September
5,
2017
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BIRTH
OF THE DRAGON
(PG-13) 
Doing
a legend a grave injustice
The name Bruce
Lee hardly requires any introduction by me, especially for those even
modestly familiar with the man. Without a doubt,
he remains to this day - even several decades after his death - to be one
of the most iconic Asian movie actors of his generation, if not one of the
most recognizable stars in the history of the medium.
It's surprising, in retrospect, that a definitive silver screen
biopic about his life and times has never fully seen the light of day...
Posted
September
5,
2017
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THE
HITMAN'S BODYGUARD
(R)
Reynolds
and Jackson can't protect this film from stale
genre conventions
THE
HITMAN'S BODYGUARD works sensationally well as a
showpiece for its two lead stars Ryan Reynolds
and Samuel L. Jackson; every time they share the
same space in this new buddy action comedy the
film coasts by on the strength of their shared
charisma. Unfortunately,
nearly everything built around these actors is
on regurgitated genre autopilot and becomes
louder, dumber, and exponentially more generic
with each new scene that progresses...
Posted
August
30,
2017
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LOGAN
LUCKY (PG-13) 
Ocean's
7/11
Steven
Soderbergh publicly retired from directing films
back in 2013 with his last feature being SIDE
EFFECTS.
Or...did he?
Obvious sarcasm
aside, the Oscar winning filmmaker eventually did soften up a tad on his
then firm stance that he was going to actively stand down from making
movies.
He made the HBO film BEHIND
THE CANDELABRA and then worked on the small screen with THE KNICK.
Now comes the somewhat awfully titled LOGAN LUCKY...
Posted
August
30,
2017
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THE
GLASS CASTLE
(PG-13) 1/2
A
real life memoir that's dutifully
Hollywoodized
THE GLASS CASTLE
is a new fact based drama adapted from the 2005 memoir of the same name
written by Jeannette Wall, which chronicled her rather unconventional and
troubling childhood. Directed
by Destin Cretton (whom made a critical splash a few years back
with his searing SHORT
TERM 12), the film contains individual moments as powerfully raw
and authentic as any that I've seen in a film this year, not to mention
that its key performances are admirably moving and richly textured. ...
Posted
August
21,
2017
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COLOSSAL
(R) 1/2
Colossal
creativity undone by colossally odd tonal shifts
Days
after screening COLOSSAL I'm still struggling to process my feelings
about how I feel about it. On
one hand, it's a highly inspired and remarkably novel genre mash-up that
wholeheartedly defied my expectations.
It's also a film with more unbridled ambition and intrepid
originality than most low budget indie fare.
On the other hand, COLOSSAL is so unrelentingly bizarre that it
kind of becomes increasingly distracting as the film progresses...
Posted
August
21,
2017
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THE
LOST CITY OF Z
(PG-13) 1/2
Into
the heart of darkness
THE
LOST CITY OF Z (pronounced "zed") is a new biographical
adventure period film that concerns the real life events of famed British
explorer Percy Fawcett, who made multiple attempts to locate an ancient
lost city in the Amazon (which he believed to exist and be the last
remains of El Dorado in the jungles of Brazil).
He tragically disappeared
with his son while on an expedition in 1925 and was never heard from
again...
Posted
August
21,
2017
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THE
DARK TOWER
(PG-13)
Dark
times are ahead for this franchise
Very few films
that I've seen during my 13 years as a critic have failed as spectacularly
at basic franchise world building as much as THE DARK TOWER, which seems
to lazily rush itself out of the gate from its opening sequence with
seemingly no creative game plan in place. Of course, THE
DARK TOWER is based on Stephen King's revered science
fiction/fantasy/western literary odyssey...
Posted
August
13,
2017
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A
GHOST STORY
(R)
Paranormal
activity
A GHOST STORY is
not a horror thriller, despite what its title may hint at.
It's more of a hypnotically haunting mood piece than a viscerally
violent and frightening film. That's ultimately
what makes David Lowery's ultra low budget $100,000 indie effort so
enthralling: It's both a challenging slow burn affair about the
purgatory-like existence for a recently deceased man, but it's also a
deeply melancholic and thoroughly moving piece...
Posted
August
13,
2017
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DETROIT
(R) 1/2
A
timely drama about racial intolerance
DETROIT is the
new period crime drama from director Kathryn Bigelow and writer Mike Boal,
the same tandem behind the 2008 Oscar winning film THE
HURT LOCKER as well as their follow-up effort, 2012's ZERO
DARK THIRTY. Both of
those films - two of the very best of their respective decades - were
pulse poundingly thrilling historical narratives that dealt with deeply
polarizing military conflicts...
Posted
August
13,
2017
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ATOMIC
BLONDE
(R) 1/2
Move
over, Mr. Wick
ATOMIC BLONDE has
been aggressively compared to the JOHN WICK
series, which is both understandable and somewhat redundant. The co-director
of the first JOHN WICK, David Leitch, appears behind the camera in ATOMIC
BLONDE, making his solo directorial debut.
The film was also heavily advertised on a level of unleashing a
considerable amount of JOHN WICK-ian bone crunching and blood-spraying
mayhem...
Posted
August
5,
2017
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TO
THE BONE
(No
MPAA Rating)
Treating
a disease of the mind and body
TO THE BONE is a
new Netflix Film that tackles an extremely serious
subject matter that often never gets dealt with in major Hollywood
mainstream theatrical features - eating disorders and how they physically
and mentally ravage away on people that suffer from them. Yes, there have
been many past films that have dealt with mental illness in one form or
another, but eating disorders like anorexia are a whole other type of
mysterious and damning one altogether...
Posted
August
5,
2017
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UNFORGETTABLE
(R)
As
disposable as it is forgettable
Very few films
from the year thus far have been on embarrassing autopilot as much as UNFORGETTABLE,
which comes off as so monotonously archaic as a genre entry that you'll
left wanting to shake your head, reach out to your smart phone, and
quickly check the date to ensure that you haven't time warped to a cinema
20-plus years ago...
Posted
August
5,
2017
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DUNKIRK
(PG-13)
WWII
- Nolanized
Hardly anyone
needs to be reminded at this point that Christopher Nolan is one of the
most
dominant and assured film directors working in contemporary cinema. Over the course
of the last decade-plus the British auteur has put his unique esoteric
stamp on a rich variety of genres, showing him to be completely unafraid
of any silver screen challenge...
Posted
July 30,
2017
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VALERIAN
AND THE CITY OF A THOUSAND PLANETS
(PG-13)
A
real space oddity
The new science
fiction space opera VALERIAN AND THE CITY OF A THOUSAND PLANETS is one of
the most visually breathtaking films that I've ever seen.
Based on the French comic book series VALERIAN and LAURELINE by
Pierre Christin and Jean-Claude Mezieres and directed by Luc Besson - whom
previously made the 1997 cult sci-fi hit THE FIFTH ELEMENT...
Posted
July 30,
2017
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WAR
FOR THE PLANET OF THE APES
(PG-13)
HAIL,
CAESAR!
WAR FOR THE
PLANET OF THE APES is the third entry in the rebooted series of the iconic
franchise of yesteryear...and it's far and away the most emotionally enriching,
dramatically gripping, and thematically compelling entry yet. Writer/director
Matt Reeves - triumphantly returning to the helm after successfully
quarterbacking the last installment, 2014's DAWN
OF THE PLANET OF THE APES...
Posted
July 24,
2017
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THE
BIG SICK (R) 1/2
A
solid remedy for the unhealthy romcom genre
Someone
asked me the other day what movie genre that I thought was on the verge of
going on life support.
I matter of factly responded with the romcom, seeing as nearly
every storytelling convention and stale and overused troupe has been
literally done to death over the years to the point of ad nauseam. But
then along comes little proverbial diamonds in the rough like THE BIG SICK
to remind me that, yes, the genre can still be one of renewed vitality...
Posted
July 24,
2017
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SPIDER-MAN:
HOMECOMING
(PG-13) 1/2
A
not entirely amazing return home
SPIDER-MAN: HOMECOMING
marks the second time in 15 years that Marvel Comics' most iconic property
has been cinematically rebooted.
Let that settle
in for a bit.
After the Sam
Raimi quarterbacked and Tobey Maguire Spidey trilogy of the early to late
2000's (two of which were great, with the last film being overstuffed and
undisciplined) came the Mark Webb helmed grittier and darker reboot...
Posted
July 17,
2017
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T2:
TRAINSPOTTING (R) 1/2
A
wasteful overdose of nostalgia
The
original TRAINSPOTTING, make no mistake about it, was a seminal film of
the 1990's and one that had an immediate and seismic impact on the movie
pop culture of its decade. Danny
Boyle's multiple Oscar nominated drug infused black comedy not only helped
cement its director as a unique new filmmaking maverick with an ultra
intense kinetic and hallucinatory aesthetic, but it also established
its star Ewan McGregor as a future Hollywood A-lister...
Posted
July 17,
2017
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THE
HOUSE (R)
Failing
to double down on Ferrell and Poehler
There's a scene
in the new comedy THE HOUSE that features a deranged Will Ferrell wielding
an axe while threatening to hurt a compulsive gambler that was caught
cheating while at his own home run underground casino.
I couldn't decide
whether I should have found this positively hysterical or positively
frightening...
Posted
July 8,
2017
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BABY
DRIVER
(R)
Of
autos and iPads
BABY DRIVER shows
writer/director Edgar Wright at the absolute zenith of his technical
filmmaking prowess. After taking a
far-too-long sabbatical from his last film, 2013's underrated THE
WORLD'S END (the third film in his self-anointed Cornetto Trilogy,
comprised of 2007's HOT FUZZ and 2004's SHAUN
OF THE DEAD), the British filmmaker has made a triumphant return
in this joyously energized, audaciously crafted, and robustly creative
heist action thriller...
Posted
July 8,
2017
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TRANSFORMERS:
THE LAST KNIGHT
(R) 1/2
Marky
Mark and his funky robot bunch return
Once again I had
to suffer through yet another nonsensically plotted, horrendously
overproduced, and self indulgently long TRANSFORMERS sequel. As I left the
cinema in stupefied silence and consumed with feelings of absolute
worthlessness and emptiness, I tried to ponder the mindsets of the
creative forces behind this creatively bankrupt endeavor...
Posted
July 8,
2017
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THE
BELKO EXPERIMENT (R) 1/2
An
experiment not worth conducting
I have no idea
what kind of film THE BELKO EXPERIMENT was trying to be, which ultimately
made for an endlessly frustrating viewing experience for me. It contains a
premise that, on paper, is wondrously ripe for potential as a cutting edge
satire on workplace office culture, but instead the film monotonously and
nauseatingly becomes an gory orgy of sadistic violence...
Posted
July 8,
2017
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MEGAN
LEAVEY (PG-13)
Tales
of a canine war hero
MEGAN
LEAVEY is a new fact based war drama about a particular subject matter
that rarely, if ever, gets covered for these types of genre films:
military K-9 units that serve with the fighting men and women on the
frontlines. War films have
been a relative and proverbial dime-a-dozen over the course of the last
several decades, so imbuing them with newfangled freshness proves to be a rather daunting challenge for
filmmakers...
Posted
June 27,
2017
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IT
COMES AT NIGHT (R)
A
reverse engineered zombie thriller
Just
before I screened IT COMES AT NIGHT I watched three trailers for upcoming
horror thrillers. All of them
were edited in exactly the same way. All of them had the exact same jump scare music cues.
And all of them suffered from repetitive sameness and felt wholly
and disposable interchangeable. None
of them made me enthusiastic about this well worn genre; there wasn't an
iota of creativity present within them...
Posted
June 27,
2017
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AFTERMATH
(R) 1/2
The
last inaction hero
Actors
usually become substantially more compelling on screen as they grown
older, wiser and reach the tail end of their careers. Arnold
Schwarzenegger is no exception, not because he wasn't an authoritative
screen presence in a multitude of his past films, but rather because now -
at a relatively ripe old age of 69 - he's beginning to tackle more subtle
and introverted parts that play up to his advancing years.
Gone are the days when Au-nald can plausibly play unstoppable chiseled
behemoths...
Posted
June 27,
2017
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THE
MUMMY
(PG-13)
A
franchise starter that's best left buried
Tom Cruise hardly
needs defending. He's one of the
most dependably and consistently bankable movie stars on the planet and,
as far as his peers are concerned, is one of the pre-eminent cinematic showman of his
generation. He puts his body
and life on the limb for his art in incalculably crazy ways that has to be
commended. At a ripe, yet
super humanly youthful looking 54-years old...
Posted
June 17,
2017
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BAYWATCH
(R) 1/2
A
washed up comedic dead zone
I'll
start this review with a very simple and beyond obvious question: Was anyone on
planet Earth really clamoring for a big budget movie adaptation...of
BAYWATCH?
I pose this
question after just having seen the extremely wrongheaded and pitifully
awful CHiPS, another large scale silver screen appropriation of a small
screen program. BAYWATCH
tries, I think, to be a would-be uproarious send-up of the original
1980's/1990's TV show...
Posted
June 17,
2017
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A
CURE FOR WELLNESS (R) 1/2
A
lushly shot mess of a psychological horror
thriller
Gore
Verbinski's A CURE FOR WELLNESS is one of those head scratching films that
leaves you with overwhelming feelings that it should be infinitely better
than the final product. The film marks a
return to the psychological horror genre that the filmmaker once tackled
early on in his career with THE RING, not to mention that, visually at
least, it's as breathtakingly shot and endlessly sumptuous to look at as
anything he's made...
Posted
June 17,
2017
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WONDER
WOMAN
(PG-13)
A
beacon of hope for the DCEU...and comic
book movies
As a boy I
fondly remember growing up and worshipping Richard Donner's SUPERMAN: THE
MOVIE and how that film elicited in my young mind equal sensations of
limitless awe, wonder, and unbridled joy as a fan of super heroes and
comic books. For the first
time ever, I marveled at the exploits of the Man of Steel and, despite
his extraterrestrial nature and godlike powers, he felt like a relatable
average Joe to me. Superman
simply felt...real...
Posted
June 6,
2017
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PIRATES
OF THE CARIBBEAN:
DEAD
MEN TELL NO TALES
(PG-13) 1/2
A
sequel that's creatively walking the plank
The PIRATES OF
THE CARIBBEAN cinematic universe has always maintained a love/hate
relationship with many film critics. The first one
way, way back in 2013 was infinitely better than any film based on a
popular amusement park ride had any business of being.
THE CURSE OF THE BLACK PEARL was triumphant in overcoming pre-release
negative press and emerging as a genuine original for the swashbuckling
pirate genre...
Posted
June 5,
2017
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WAR
MACHINE (No
MPAA Rating) 1/2
A
war satire with a script that needs liberating
The
new Netflix Original Film WAR MACHINE - based on the 2012 nonfiction book
THE OPERATORS by Michael Hastings - is a semi-fictionalized chronicle of
the firing of U.S. Army General Stanley McChrystal, who led a team in
Afghanistan back in the late 2000's.
Names and details have been changed in the film, but WAR MACHINE is
not endeavoring to be a facts oriented docudrama, but rather
an ultra black comedy and satire about America's troubled history in the
Middle East...and the moral chaos and ethical madness of war and combat in
general...
Posted
June 5,
2017
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ALIEN:
COVENANT (R)
In
space...no one can hear you *sigh*
Ridley Scott's
2012 sci-fi thriller PROMETHEUS - his
first behind the camera at the time since 1982's BLADE
RUNNER - was released to much audience and critical polarization.
The first film in a proposed sort-of-a-prequel, but not-exactly-a-prequel
trilogy to Scott's 1979 franchise starter ALIEN,
PROMETHEUS did, in my estimation, what great series films - sequel or prequel - should
do: Take the established mythology and audaciously take it in fresh new
directions...
Posted
May 27,
2017
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SNATCHED
(R) 1/2
Not
putting the "fun" in "unrefundable"
For
all intents and purposes, the new odd couple road comedy SNATCHED should
have been a proverbial home run. It stars Amy Schumer, who made
a very auspicious cinematic debut starring in and writing Judd Apatow's TRAINWRECK. Her co-star is Hollywood legend Goldie Hawn, coming out of a
long retirement since last appearing in 2002's THE BANGER SISTERS.
And SNATCHED's director is Jonathan Levine, whom previously helmed a
couple terribly underrated comedies in 50/50
and WARM BODIES...
Posted
May 27,
2017
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KING
ARTHUR: LEGEND OF THE SWORD
(PG-13)
King
Arthur Begins
KING ARTHUR:
LEGEND OF THE SWORD is the seemingly umpteenth retelling of the classic
Arthurian legend, only this time heavily amping up on the pure fantastical
elements. Directed with
enthusiasm - perhaps a bit too much for his own good...more on that later
- by Guy Ritchie (whom previously retooled another iconic property in SHERLOCK
HOLMES)...
Posted
May 20,
2017
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THE
WALL (R) 1/2
A
refreshingly insular look at a larger conflict
Not to be
confused with THE GREAT WALL from
earlier this year, THE WALL is a new American War film that's a frequently
masterful exercise in minimalist filmmaking economy. Featuring three
actors (one of which appears in voice only off camera) and containing a
singular setting throughout its taut and lean 81 minutes, the film is not
so much a war film or a commentary on the nature of war, per se, as much
as it is a chillingly suspenseful outdoor survival thriller...
Posted
May 20,
2017
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FIFTY
SHADES DARKER (R) 1/2
Someone
should permanently cover up this franchise
Staring at a
blank white wall for two plus hours would have been a more erotic
experience than watching FIFTY SHADES DARKER, the second film in the -
dear God, help us all - trilogy of films based on the popular literary
series by E.L. James (I'm using the term "literary"
ever-so-loosely). A follow-up film
to 2015's FIFTY SHADES OF GREY,
this sequel makes miniscule improvements over its antecedent...
Posted
May 20,
2017
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GUARDIANS
OF THE GALAXY: VOL 2
(PG-13) 1/2
Too
much volume, not enough substance
2012's
GUARDIANS
OF THE GALAXY had no business being as financially successful -
and good, for that matter - as it was, seeing as it was a real
creative Hail Mary by Marvel and Disney to take a C-grade and virtually
unknown comic book property and somehow make it mainstream.
The highly risky gamble paid off handsomely, as the film not only
become one of the most cherished in all of the Marvel Cinematic Universe,
but this humble critic coveted it so much that he put it on his list of
the Ten Best Films of its year...
Posted
May 12, 2017
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THE
CIRCLE
(PG-13)
A
Big Brother thriller that needs tech
support
THE CIRCLE is a
very dumb movie about some very smart ideas and themes. What makes the
experience of watching it all the more frustrating and disappointing is
that there's real talent both in front of and behind the camera. Based on the 2013
cautionary tech thriller novel of the same name by David Eggers, this film
adaptation is directed by James Ponsoldt, whom previously made one of the of
the best coming of age romance dramas of recent memory in the criminally
under-seen THE SPECTACULAR NOW...
Posted
May 12, 2017
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FREE
FIRE (R)
An
antiquated Tarantino knock-off
Remember
back in the early to mid 1990's when Quentin Tarantino burst onto the
movie scene with RESERVOIR DOGS
and PULP FICTION, which showcased
his highly unique amalgam of blood curdling violence and poetically
verbose and pop culture riffing criminal degenerates?
I know.
I do too. Good times...
Posted
April 30, 2017
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GIFTED
(PG-13)
A
family drama bestowed with richly textured
characters
GIFTED,
at least on paper, certainly sounds like one of those cheaply melodramatic
feel-good TV movies of the week. It concerns a brilliant
female math prodigy - just 7-years-old - that becomes embroiled in a child custody hearing between her
grandmother and her uncle, the latter which has cared for the "gifted" youngling since she was a baby,
during which time her mother
committed suicide. The
overall premise of this film for me going in was a real turn-off...
Posted
April 30, 2017
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PHOENIX
FORGOTTEN (PG-13)
A
found footage thriller starved of innovation
My overall
appetite for found footage films has been seriously waning over the
years, and very few recent examples (like PROJECT
ALMANAC and INTO THE STORM)
haven't given me any serious reason to renew my past enthusiasm for this tired
and rapidly running out of gas genre. PHOENIX FORGOTTEN
is yet another example of the found footage thriller that appropriates most of its
aesthetic accouterments...
Posted
April 30, 2017
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THE
FATE
OF THE FURIOUS
(PG-13) 1/2
A
series that's showing signs of stalling
Remember way, way
back in 2001 when the first FAST AND FURIOUS film was released, well
before it improbably spawned seven sequels and grossed $4 billion in
global ticket sales? Looking back it's
quite amazing to consider that it was, for all intents and purposes, a
not-so-subtle POINT BREAK knock-off about the underground world of street
racing that involved crooks illegally racing their souped up muscle cars
and imports when they weren't stealing DVD players...
Posted
April 23, 2017
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THE
ZOOKEEPER'S WIFE
(PG-13)
The
Holocaust via a different unseen lens
As
a student of history, I've always found the historical war genre to be
right up my alley.
In particular, I appreciate films that find a unique viewfinder
through which to look at and examine past events that we think have been
covered from all possible angles. There have been countless dramas about World War II and the
Holocaust, but THE ZOOKEEPER'S WIFE...
Posted
April 23, 2017
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GOING
IN STYLE (PG-13) 1/2
Grumpy
old heist men
GOING IN STYLE is
cinematic comfort food: It's simply prepared, has nostalgic and
sentimental value, tastes relatively good and goes down without much fuss. The film has
multiple identities - it's a remake, a grumpy old men comedy of errors,
and a bank heist film. Most
importantly, it's a gathering together of three industry thespian
heavyweight titans of the movies in Michael Caine, Morgan Freeman, and
Alan Arkin...
Posted
April 16, 2017
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