Thom says: “Hmmm… Admittedly, I have no respect at all for fake macho director Ritchie, and while this film is fitfully entertaining, finally let’s attack it for esthetic reasons. This was adapted from a comic book of all mediums but
Toni says: “Tomm Moore and his co-production team in Ireland, France, and Belgium, have created a beautiful and haunting masterpiece based of the famous Irish Book of Kells. It is sort of a mix of darker Miyazaki crossed with a touch
Jason says: “This one had a short run on the plex’s smallest screen, and it’s not hard to see why. It’s a pretty decent movie, with a good cast, but it’s also a weird one, with gambling addict John encountering
TC says: “If you were around in the late 70s, you know the kind of sexist conditions that girls who wanted to rock out ran into. That’s the ultimate story behind THE RUNAWAYS, the story of the groundbreaking all-girl punk
Jason says: “There are many varieties of ‘edgy,’ but most can fit within two broad categories: Those that make a mainstream viewer say ‘ewwwww!’ and those that make that same mainstream viewer say ‘what the hell?’ There is, as one
Chris says: “I’ve always struggled with war films (both fictional and docs)—it’s possibly my least favorite genre. But I loved THE HURT LOCKER and if this isn’t exactly its real-life equivalent, that’s fine because it aims for something else. Not
Jason says: “THE REVENANT is nearly two hours, long for a splatter-comedy, and if I could come up with a good suggestion for trimming it, I would probably offer it. The trouble is, the scenes which could probably survive a
Jason says: “The finale of a series never stands up well on its own, no matter how well-intentioned the production may be. One can argue that it shouldn’t, that by the time we get to the third act, the only
Jason says: “David Peace’s Red Riding novels are described as a quartet, and if you look at the titles to the filmed RED RIDING HOOD TRILOGY, there’s clearly a hole where 1977 should be. For whatever reason, screenwriter Tony Grisoni
Jason says: “RED WHITE & BLUE takes its time messing the audience up. Even the big event that pulls everything together takes a few scenes to really sink in, as we connect just what’s been going on with a growing