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One doesn’t so deeply insist on calling themselves “the luckiest guy in the world” as NBA superstar and sportscaster Bill Walton does without facing bad luck. As we learn from this jolly Steve James docuseries, the towering and ebullient Walton is known for hyperbole, for liberally using the word “fantastic.” But in the humble Hall […]

Rob Savage has proven twice that he can aim higher than The Boogeyman an emotionally numbing horror movie and counter-intuitive self-challenge to make PG-13 horror scary. The filmmaker’s previous ventures “Host”, about a haunted Zoom seance, and Dashcam, about a rapping anti-vaxxer’s live-streamed descent into hell led with innovation and provocation. They’re as current as

My esteemed colleague Christy Lemire opened her review of “Spider-Man: Into the Spider-Verse” with a quote from her nine-year-old asking if he could see it again, so I think there’s some synergy in quoting my nine-year-old to open this one: “That might be the best movie I’ve ever seen”. “Spider-Man: Across the Spider-Verse” explodes onto

When do you know a relationship is real? Is it when you exchange glances that last a little too long so you can stare into each other’s eyes? Is it when you can’t stop talking to each other? Is it when you two do something together that feels more special than usual? Or is it

Over two decades ago, when I had a big job “Lynch/Oz” at a big glossy magazine, my boss, the guy who hired me, got fired, and a new editor-in-chief was installed. I was sad “Lynch/Oz” and also mildly terrified. Largely because I was just like that whenever I was in a straight job situation convinced

HBO’s four-part mini-series “Burden of Proof” asks two heartbreaking questions that are inverses of each other. What if you were convinced your parents had something to do with the death of your sister? It’s a hard thing to even fathom and something that has shaped the entire existence of Stephen Pandos, whose sister Jennifer disappeared

“Simulant” a sci-fi murder mystery about humanoid robots and a potential robot uprising, has something that many other cheap “Blade Runner” and “I Robot” rip-offs don’t: a clear sense that the loss of life, artificial or otherwise, should be sorrowful. When characters die in “Simulant,” the movie’s creeping pace and dramatic inertia seem a little

Some of our best filmmakers have amplified career-long obsessions with faith into masterpieces like “First Reformed” and “Silence.” The prospect of the underrated genius of Abel Ferrara pondering the meaning of life through the story of Francesco Forgione, a world-famous Franciscan friar of the early twentieth century who showed signs of the stigmata, hums with

Last year, the South Korean action star Ma Deong-seok, aka Don Lee, took over the Korean cop thriller franchise “The Outlaws” originally titled “Crime City” in Korea. A blockbuster sequel to “The Outlaws” was released in May under the revised title of “The Roundup” which understandably shifts the series’ focus onto Lee and away from

“Rise,” by French filmmaker Cédric Klapisch, is not blazingly original by any stretch, and any moviegoer paying even the slightest amount can predict most of the plot’s moves. And yet, something is to be said about presenting a familiar narrative in a straightforward and undeniably entertaining manner. That is what Klapisch has done here, aided