Movie Reviews Only

Rating T-Meter Title | Year Review
3.5/4 79% The Standoff at Sparrow Creek (2019) What makes The Standoff at Sparrow Creek special is how much it reminds you of stories of alpha males like Reservoir Dogs, The Thing, and Mamet's work without ever feeling wholly derivative.‐ RogerEbert.com
Read More | Posted Jan 18, 2019
3/4 91% Fyre (2019) [Fyre] is a story of shallow excess-how we're in an era in which how something looks is more important than what it actually is-but it's also a reminder that everything still has a cost.‐ RogerEbert.com
Read More | Posted Jan 18, 2019
3/4 76% Brexit (2019) Once you get over the icky feeling that making a movie about Brexit in early 2019 is kind of like making a movie about a raging wildfire before it's been put out, HBO's Brexit is an interesting examination of how we got here.‐ RogerEbert.com
Read More | Posted Jan 18, 2019
2/4 36% Glass (2019) The kind of depressing misfire that hurts even more given what it could have been.‐ RogerEbert.com
Read More | Posted Jan 17, 2019
1/4 10% Replicas (2019) Writer Chad St. John and director Jeffrey Nachmanoff never figured out what story they were trying to tell.‐ RogerEbert.com
Read More | Posted Jan 10, 2019
2/4 86% Rust Creek (2019) I found myself more invested in the ins and outs of the drug trade in Kentucky than the plight of the woman who got stuck in it.‐ RogerEbert.com
Read More | Posted Jan 4, 2019
1.5/4 64% Vice (2018) The film lacks insight, ingenuity, and intensity, skimming the surface of history like a drunk guy at a holiday party who read a Wikipedia entry that he really wants to talk to you about right now.‐ RogerEbert.com
Read More | Posted Dec 24, 2018
2.5/4 59% The House That Jack Built (2018) The film finds von Trier wrestling with the claims of misogyny and misanthropy that have followed him his entire career, but not in the way you'd expect.‐ RogerEbert.com
Read More | Posted Dec 14, 2018
2.5/4 62% Bird Box (2018) Eric Heisserer's script works better when it sticks to the basics, locking us in what could be the last safe place on Earth and allowing us to ask how we'd behave in such a nightmarish predicament.‐ RogerEbert.com
Read More | Posted Dec 13, 2018
3/4 93% Of Fathers and Sons (2018) Terki avoids too much moralizing or even authoring, allowing his camera and presence to fade into the background of most scenes.‐ RogerEbert.com
Read More | Posted Nov 23, 2018
3/4 88% Ralph Breaks the Internet (2018) Ralph Breaks the Internet works because it doesn't pander, and it doesn't simplify.‐ RogerEbert.com
Read More | Posted Nov 21, 2018
2/4 74% The Clovehitch Killer (2018) As good as Plummer and McDermott are here, [writer Christopher D. Ford] ultimately writes himself into a corner that requires actions in the final act that don't ring true.‐ RogerEbert.com
Read More | Posted Nov 16, 2018
3/4 94% CAM (2018) A fascinating conversation starter driven by a great performance. Turn it on.‐ RogerEbert.com
Read More | Posted Nov 16, 2018
3/4 80% At Eternity's Gate (2018) Rarely has a film been more of a singular showcase for a performer.‐ RogerEbert.com
Read More | Posted Nov 16, 2018
4/4 91% Widows (2018) McQueen's masterful film is the kind that works on multiple levels simultaneously-as pure pulp entertainment but also as a commentary on how often it feels like we have to take what we are owed or risk never getting it at all.‐ RogerEbert.com
Read More | Posted Nov 12, 2018
2/4 63% Outlaw King (2018) Outlaw King never quite commits to this interesting idea, almost resolute in its forward progression through the mud and grime from one battle scene to the next.‐ RogerEbert.com
Read More | Posted Nov 9, 2018
81% Freaks (2018) Nothing is less scary than a movie that makes no sense.‐ RogerEbert.com
Read More | Posted Oct 29, 2018
3/5 90% Burn Notice: The Fall of Sam Axe (2011) It's not bad, but not particularly the best outing for anyone involved.‐ HollywoodChicago.com
Read More | Posted Oct 25, 2018
79% 24: Redemption (2008) It's still a dark and brutal program, but there has clearly been a creative reassessment of the show. It's the kind of self-awareness that could resurrect a series that looked like its popularity might be sliding away.‐ HollywoodChicago.com
Read More | Posted Oct 22, 2018
3.5/4 99% The Guilty (Den skyldige) (2018) A cinematic study in tension, sound design, and how to make a thrilling movie with a limited tool box.‐ RogerEbert.com
Read More | Posted Oct 19, 2018
3/4 78% Apostle (2018) I'm not sure 'Apostle' quite justifies its 130-minute running time, but you have to say this about it: It's like nothing else you could include in your annual Halloween horror marathon this year.‐ RogerEbert.com
Read More | Posted Oct 12, 2018
2.5/4 38% Malevolent (2018) It's not going to be anyone's favorite new horror film this holiday season, but it's a solid enough start to the month when temperatures drop and it becomes cooler to tell ghost stories.‐ RogerEbert.com
Read More | Posted Oct 5, 2018
3/4 80% A Crooked Somebody (2018) It's always nice when a movie with little to no buzz sneaks up on you like this one did for me.‐ RogerEbert.com
Read More | Posted Oct 5, 2018
2/4 76% Bad Reputation (2018) Joan Jett deserves a great rock doc. This isn't it.‐ RogerEbert.com
Read More | Posted Sep 28, 2018
3/4 92% Mandy (2018) There's a masterful version of this movie that runs notably shorter, but that doesn't mean there's not an unforgettable one the way it is right now.‐ RogerEbert.com
Read More | Posted Sep 14, 2018
88% First Man (2018) This is probably the most patriotic film in years.‐ RogerEbert.com
Read More | Posted Sep 13, 2018
80% Hotel Mumbai (2019) Making this kind of film inherently walks a fine line between art and exploitation, and Hotel Mumbai feels like the latter.‐ RogerEbert.com
Read More | Posted Sep 13, 2018
82% Green Book (2018) A film that's remarkably conventional and shallow in its treatment of racism, but also an undeniable showcase for two great performers.‐ RogerEbert.com
Read More | Posted Sep 13, 2018
2.5/4 70% Hold the Dark (2018) A brutal slog of a film, admirable in its fearlessness in terms of dark subject matter, but the brutality doesn't feel worth it in the end.‐ RogerEbert.com
Read More | Posted Sep 13, 2018
3/4 86% The Land of Steady Habits (2018) An insightful portrait of middle-age in the '10s.‐ RogerEbert.com
Read More | Posted Sep 13, 2018
79% Ben is Back (2018) While Hedges' script gets a bit too convoluted in the second half, I appreciated the direct storytelling that simply allows Julia Roberts and Lucas Hedges to deliver.‐ RogerEbert.com
Read More | Posted Sep 11, 2018
68% Beautiful Boy (2018) There's a lot to admire in Beautiful Boy on a performance level, but Carell and Chalamet's work is often buried in frustrating filmmaking.‐ RogerEbert.com
Read More | Posted Sep 11, 2018
4/4 96% Roma (2018) A masterful achievement in filmmaking as an empathy machine, a way for us to spend time in a place, in an era, and with characters we never would otherwise.‐ RogerEbert.com
Read More | Posted Sep 11, 2018
40% The Dig (2018) A flick that starts with a fantastic premise, but ends with a twist that feels more like a cheat than a revelation.‐ RogerEbert.com
Read More | Posted Sep 11, 2018
63% The Hummingbird Project (2019) There's a fascinating performance near the center of The Hummingbird Project, but director Kim Nguyen never finds the urgency in his feels-true-but-isn't narrative.‐ RogerEbert.com
Read More | Posted Sep 11, 2018
69% Greta (2019) There's something just slightly off about these characters, as if Jordan never quite figured them out, or why they need each other.‐ RogerEbert.com
Read More | Posted Sep 11, 2018
59% Vox Lux (2018) The ambition of this film impresses enough to warrant seeing it.‐ RogerEbert.com
Read More | Posted Sep 11, 2018
13% The Death and Life of John F. Donovan (2018) [Dolan's] film falls victim to his worst tendencies. ‐ RogerEbert.com
Read More | Posted Sep 11, 2018
3.5/4 94% Wildlife (2018) An accomplished, moving piece of filmmaking, one that cares about its characters and trusts its performers.‐ RogerEbert.com
Read More | Posted Sep 10, 2018
2/4 79% Halloween (2018) It's just not scary. And that's one thing you could never say about the original.‐ RogerEbert.com
Read More | Posted Sep 10, 2018
3.5/4 92% The Old Man & the Gun (2018) A love letter to a cinematic legend, serving as a perfect final film for someone who long ago surpassed mere actor status to become an icon.‐ RogerEbert.com
Read More | Posted Sep 10, 2018
80% Boy Erased (2018) Too much of Boy Erased goes through the motions, and leaves us wanting to connect with Jared in ways the movie is unable to provide.‐ RogerEbert.com
Read More | Posted Sep 9, 2018
71% Destroyer (2018) A movie that simply wouldn't work without [Kidman], and, because of some of the frustrating narrative choices, almost doesn't with her.‐ RogerEbert.com
Read More | Posted Sep 9, 2018
59% The Front Runner (2018) Someone had to make a movie about Gary Hart eventually, and so here it is.‐ RogerEbert.com
Read More | Posted Sep 9, 2018
77% Loro (2019) There are enough fantastic sequences in Loro, and another great performance from Servillo, but this is a slight disappointment given what we've come to expect from Sorrentino.‐ RogerEbert.com
Read More | Posted Sep 9, 2018
3.5/4 90% A Star Is Born (2018) This story has been told several times before-and influenced other similar romances-but Cooper and Gaga find a way to make this feel fresh and new.‐ RogerEbert.com
Read More | Posted Sep 8, 2018
100% Gloria Bell (2019) It's a remarkably enjoyable movie, downright cathartic in its presentation of a three-dimensional character.‐ RogerEbert.com
Read More | Posted Sep 8, 2018
3/4 81% Fahrenheit 11/9 (2018) Fahrenheit 11/9 is ultimately Moore's best film in years because its message is really simple and nonpartisan: get mad about something and do something about it.‐ RogerEbert.com
Read More | Posted Sep 8, 2018
95% 3 Faces (2018) The first hour of 3 Faces is remarkable, featuring some of Panahi's best filmmaking, but it slips through his fingers in the final act.‐ RogerEbert.com
Read More | Posted Sep 7, 2018
4/4 99% Shoplifters (Manbiki kazoku) (2018) For the bulk of 'Shoplifters,' Kore-eda works in a beautiful register that feels both detailed and genuine at the same time.‐ RogerEbert.com
Read More | Posted Sep 7, 2018
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