“When you record a moment, you’re recording the death of a moment.” Canadian actor Les Carlson, in the role of “Actor” in David Cronenberg’s heartbreaking 2000 short film “Camera,” states that with at least a small amount of rancor. The sentiment is not incorrect and has been kicking around in some form or another since, […]
It takes up to four men to restrain Emile Hirsch in “State of Consciousness,” a soul-draining psychological thriller about a falsely accused man (Hirsch) who keeps getting medicated and harassed against his will. Hirsch plays Stephen, a manic gas station clerk, car mechanic, and former military-man whose life is ruined after the cops find a
“Immaculate” feels like both a throwback to another era of Italian horror and a timely commentary on woman’s bodily autonomy, but it can’t match the flair of the former and lacks the thematic thrust to convey anything resonant about the latter. Star Sydney Sweeney continues her “moment” after the success of “Anyone but You” and
In the last few years, as streaming services (and their budgets) have grown, it feels as if the true crime genre has seen a reinvention. Gone are the days of dry documentaries, often giving way to fictionalized tales of some of the most famous crimes, deaths and conspiracies in history. Based on James L. Swanson‘s
There are a lot of missing and dead women on TV. It’s not just zombie shows or procedurals, the prestige series has long been in on the game with feminine corpses powering entire series. In Peacock’s missing-woman mystery, “Apples Never Fall,” the beloved and powerful Annette Bening even potentially dons the trope. As Joy Delaney,
The work of journalist Susan Orlean has been adapted to the big screen a few times, most notably in 2002 by Charlie Kaufman for the Oscar-nominated rumination on the nature of writing itself, “Adaptation.” But even the girl power surfing film “Blue Crush,” also from 2002, had a unique rough and tumble charm to it.
I have never been afraid to write a review, let alone give it a rating, but the documentary “High and Low–John Galliano” by Academy Award-winning director Kevin Macdonald took me for a spin. Even after watching “America’s Next Top Model” throughout my entire adolescence, I had not wrapped my head around the fact that the
For a few minutes, “Arcadian” basically becomes “Aliens” on an Irish farm with Nicolas Cage in the Ripley role. That might be the best elevator pitch I’ve ever heard. You know if you want to sign up for that or not. Don’t get me wrong. This is not James Cameron-level filmmaking, but it is an
“Road House” likes to explicitly reference that it thinks it’s a Western. It’s more like a cartoon. While that may sound harsh, some of the Looney Tunes-esque qualities of this reimagining of the 1989 Patrick Swayze classic work in its favor. Especially in the first hour, when director Doug Liman and Anthony Bagarozzi & Charles
Opening night at the 2024 South by Southwest Film Festival may have been dominated by Doug Liman’s remake of “Road House,” but there was a major event unfolding just next door at almost the same time, a major stop on the career train route of one of the most unexpected public figures of the last
