Review

Gene Wilder couldn’t have chosen a better stage name. “Gene” is so ordinary, so sane. It promises gentleness: genial, congeniality. But Wilder? That’s the sort of actor who could play Leo Bloom, Willy Wonka, Dr. Frankenstein’s grandson, or The Waco Kid. Sure enough, from his breakout role as Bloom, the accountant who gets pulled into […]

Two years ago Lindsay Lohan had her first starring role in almost a decade in the Netflix Holiday film “Falling for Christmas”, which she elevated with her innumerable charms. Re-teaming with director Janeen Damian, Lohan has returned to that same kind of screwball romantic comedy formula for “Irish Wish,” this time with a bit of

You’ve probably seen the viral video. An elderly British man named Nicholas Winton sits in the front row of a television studio watching a silly chat show called, “That’s Life.” The host explains to the viewers that more than 40 years earlier, just before World War II, as the Nazis were invading Czechoslovakia, Winton arranged

In his second directorial effort, the underwhelming “Knox Goes Away,” Michael Keaton portrays a heady hitman diagnosed with a rare and aggressive form of dementia. His illness is so grave, when he’s finally diagnosed, he’s told he only has a few weeks to get his affairs in order. It’s a fascinating premise by screenwriter Gregory

“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

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.