Reviews And Otherwise

Mammoth victory lap documentaries usurped by modest Jerry Lee Lewis chronicles dumped by A24. Plus THE BEEKEEPER/WICKED LITTLE LETTERS/THE MINISTRY OF UNGENTLEMANLY WARFARE.

Alex Garland’s opaque on purpose Divided America epic, plus easier to grasp monster and demonic fare.

Reviewing this year’s first surefire blockbuster plus Ethan Coen and Tricia Cooke’s lesbians on the road comedy, which will likely find a larger audience via streaming.

Discussing 50s noir films including I DIED A THOUSAND TIMES, PICKUP and ROADBLOCK. Also, a few words about the black-and-white version of GODZILLA MINUS ONE, which complements its 1954 ancestor GOJIRA.

Bradley Cooper takes a technical leap forward in his biopic of Leonard Bernstein, but it’s Carey Mulligan’s performance as wife/partner Felicia that saves this from being merely awards aspirant.

Paul King of PADDINGTON fame combines with the Harry Potter/Fantastic Beasts production team to give viewers Timothee Chalamet as young Willy Wonka in a not-magical-enough origin story.

Discussing what, as of mid-December, are the best 2023 releases I’ve seen—along with honorable mentions and one watchable underachiever.

Nick Broomfield’s Brian Jones documentary and Emerald Fennell’s satirical comedy/drama have this in common: English estates where people come to premature ends.

Reviewing David Gordon Green’s flawed but not bad addition to the EXORCIST franchise, the latest Scorsese (very good, but too soon to know where it will stand in his canon) and Alexander Payne’s return to form after the misfire of DOWNSIZING.

Anton Corbijn’s documentary about the record cover photo/design company which, in its lifespan, proceeded from the psychedelic 60s to the careless Imperial Rock Star period of the late 70s before punk, synthpop and music videos hurried its demise. Also, the understandably dumped by Lionsgate COBWEB—Samuel Bodin taking a good premise and botching it by over reliance on exaggeration and shoutouts to infinitely better films

Reviewing the DC Latinx superhero film which is a big budget homage to mediocre Cannon Films 80s fare, plus a new documentary about people irradiated by nuclear weapons tests ranging from the 1950s to 1992.

Eulogizing William Friedkin’s career, with attention paid to THE DEVIL AND FATHER AMORTH and the dual versions of RAMPAGE (plus sidebar on J. Lee Thompson’s 10 TO MIDNIGHT).

Reviews of three movies which demand theatrical viewing: MISSION: IMPOSSIBLE DEAD RECKONING PART ONE, ASTEROID CITY and INDIANA JONES AND THE. DIAL OF DESTINY.

At this writing, audiences are actively avoiding seeing Andy Muschietti’s THE FLASH during its theatrical release. Here are a few thoughts about the serpentine, tone-shifting route of the pre-James Gunn DCEU (not counting the Christopher Nolan/Matt Reeves BATMAN quartet), multiverse mania, what does work in THE FLASH and the conclusion that the less-broad Zack Snyder approach to Barry Allen/Flash is, in hindsight, preferable.

Reviewing the new Stephen King adaptation, Mary Harron’s conventional, cliched take on Salvador Dali’s 1970s and contextualizing Glenda Jackson’s British and American successes.

Reviewing the latest example of Disney remaking its classics and the new comedy of manners from Nicole Holofcener.

Russell Crowe, last seen by me as a killer road rage driver, classes up a new entry into the almost five-decade exorcism religious horror genre. Also, May Pang, John Lennon’s lover and working companion from 1973 to 1975. states her case for being a positive influence on Lennon during a period often mischaracterized as nonstop partying.

Reviews of Ben Affleck’s AIR and Jesse Atlas’s ASSASSIN-the final Bruce Willis film to be released.

Like TOP GUN: MAVERICK, the latest version of the John Wick fight/kill saga is an example of critics and audiences going gaga over undeniable filmmaking skill and craftsmanship.

A few words on the noneventful-on-purpose 2023 Academy Awards ceremony, plus comments on sequels CREED III (good) and SCREAM VI (uneven).

Reviewing Neil Jordan’s MARLOWE, with a discussion of how Robert Mitchum’s two 1970s films as Philip Marlowe are the spiritual ancestors of Liam Neeson’s performance.

Reviewing THE WHALE and mentioning, among other things, Brendan Fraser’s earlier venture into prestige filmmaking (GODS AND MONSTERS).

Discussing three of this year’s Academy Awards nominees, as well as the omissions of Danielle Deadwyler (TILL) and DECISION TO LEAVE.

Tribute to the actress/filmmaker/artist/politician who passed away at 95 earlier this week. Her 1964 film WOMAN OF STRAW, with Sean Connery and Ralph Richardson, is reviewed.

Reviewing the ambitious new films of Damien Chazelle and Noah Baumbach.

Discussing James Cameron’s visually brilliant, dramatically undernourished sequel—plus predecessors Georges Méliès and Tom Laughlin of BILLY JACK fame.

Discussion of underseen films/TV from this year including PETIT MAMAN, THE BANSHEES OF INISHERIN. ARMAGEDDON TIME, THE FABELMANS, the Robert Downey documentary SR., and Ethan Hawke’s THE LAST MOVIE STARS.

Comparing and contrasting two satires of the oftentimes nefarious rich. With references to Ken Adam, Peter Greenaway and THE LAST OF SHEILA.

Discussing two casualties of this awards season (though Ana De Armas may yet receive Globes/Academy attention). Plus—relating to AMSTERDAM—mention of an actual fascist takeover in Washington film, the William Randolph Hearst production GABRIEL OVER THE WHITE HOUSE.

Reviewing Ryan Coogler’s flawed but intermittently compelling sequel which doubles as a tribute to the late Chadwick Boseman.

Reviews of SHE WILL, RESURRECTION, BARBARIAN and WATCHER—plus a few more thoughts on TAR.

Todd Field’s lengthy, though noncommittal (except to tilt in the direction of public indignation over the exposure of private sins) #MeToo epic about a soon to be disgraced symphony conductor (Cate Blanchett).

Reviewing Walter Hill’s return to the Western genre, plus discussing the early work that ensured a long, if sometimes uneven, career.

A few words on Billy Eichner’s gay romcom BROS—a film that doesn’t deserve its vigorous rejection by the mass audience marketplace.

Quick reactions to David Bowie as interpreted by Brett Morgen, Greg Mottola and Jon Hamm reviving the FLETCH franchise, Olivia Wilde’s uneven, but great-looking sophomore film and an overlooked Louise Fletcher performance (1983’s BRAINSTORM).

Recommending Howard Zieff’s 1973 crime comedy SLITHER, with James Caan, plus reviews of Baz Luhrmann’s ELVIS and the conspicuously recycled THE BLACK PHONE.

Discussing JURASSIC WORLD: DOMINION, how THE LOST WORLD Is the actual worst of the sextet and a few words on behalf of Joe Johnston’s neglected JURASSIC PARK III.

Two very diverse filmmakers revisit their pasts: Michael Bay makes a return to his 90s mega-action heyday and David Cronenberg again combines body horror with stylized social commentary.

Reviewing the latest installment of Tom Cruise demonstrating his indestructible star power, plus brief comments on must-see non-blockbusters HAPPENING and MEN.

Survey of the cinematic year which shifted mainstream cinema from downbeat adult fare to triumphant escapism. Films discussed include ROCKY, SLAP SHOT, SMOKEY AND THE BANDIT, STAR WARS, THE SPY WHO LOVED ME, ROLLING THUNDER, SEMI-TOUGH, JULIA, THE TURNING POINT and CLOSE ENCOUNTERS OF THE THIRD KIND.

Review of Dan Kwan and Daniel Scheinert’s spinning top family saga which has fine lead performances, but overindulges to its detriment.

A self-interview mentioning my earliest movie experiences, my first foreign film, taking a film class with Baird Whitlock (who shares a name with a Joel and Ethan Coen character, being an AFI volunteer amidst future Oscar and Tony winners and favorite film and music podcasts.

Reviews of Pixar’s metaphor for a 13-year-old Canadian/Asian girl’s adolescence, Adrian Lyne’s belated return to the erotic thriller genre and Sean Baker’s Texans hanging out (in multiple senses) followup to THE FLORIDA PROJECT.

Matt Reeves reactivates the Caped Crusader in a two hour film wearing a baggy three hour epic suit.

Reviewing Joe Wright’s overlooked CYRANO, plus the fifth SCREAM and HERE BEFORE—a character study of a mother convinced the little girl next door is the reincarnation of her deceased daughter.

Discussing the animated documentary FLEE and Paul Thomas Anderson’s deservedly praised LICORICE PIZZA.

Review of Jennifer Lopez’s return to the romantic comedy genre.

Overview of the Academy Awards Best Picture nominations plus some observations on other categories.

Discussion of Woody Allen’s RIFKIN’S FESTIVAL, the first episode of W. Kamau Bell’s docuseries WE NEED TO TALK ABOUT COSBY and how to regard quality of work and public plaudits while being aware of problematic/toxic behavior at the same time.

Discussing Pedro Almovodar’s very good showcase for Penelope Cruz, plus hit and/or miss social commentary fare from Adam McKay and Michael Showalter.