Director Ridley Scott (who I grace with tremendous respect) from “The Gladiator”, “White Squall”, “Alien” to “The Dog Stars” the fecundity of his masterful vision knows no bounds; it is a dystopian era and “Jasper” is the canine companion of survivor “Hig” (Jacob Elordi, a primary reason to view the film); in tandem, they fly to untamed areas to pilfer …
Read More »THE END OF OAK STREET (in theatres)
Anne Hathaway is fully in command of her escalating career; regardless of the role, she adopts it, incorporating with every fiber of her being its nuances, dreams and nightmares. Besides, the power hungry, savvy “Andrea Sachs” in “Devil Wears Prada 2” she soars, stratospherically, in “Mother Mary” as an icon in the musical pop genre, stunningly strict in intelligence, religiosity …
Read More »TONY (in theatres)
Anthony Bourdain (1956-2018) was a worldwide master chef, glib conversationalist, flamboyant raconteur and a suicide. Bafflement abounds in this shambolic telling of his nineteenth summer in Provincetown, Massachusetts. Directed by Matt Johnson (“The Dirties”) and starring stunningly sensational Dominic Sessa (“The Holdovers”) as “Tony”, Emilia Jones, his love interest “Nancy”, Antonio Banderas incomparable as chef “Ciro” and my new star …
Read More »SPIDER-MAN: BRAND NEW DAY (in theatres)
Never invested in the Spider-Man franchise; but heeding its popularity decided to sample the newest screen specimen. “Brand New Day” feels stale and tired, with a weary “Peter Parker” (Tom Holland) considering retirement, plagued by headaches, and working with Damage Control. He is growing up, lonely, lovelorn, and in need of a break; at 30, a career change seems advisable. …
Read More »HADESTOWN: THE MUSICAL (in theatres)
Music and mythology, what could be more divine? Another magical, musical, filmic feat, seeing an award-winning Broadway musical with popcorn and reclining seats in your closest movie theatre. Blessed are those who witnessed this talent-studded play by Anais Mitchell’s folk opera directed by Brett Sullivan, starring Reeve Carney as “Orpheus”, Eva Noblezada as “Eurydice”, Patrick Page as “Hades”, Andre De …
Read More »MOTOR CITY (in theatres)
Films like “Motor City” are the supreme reason I adore the contemporary; contemporary anything: opera, music, art, and especially, film. Director Potsy Ponciroli (“Old Henry”) bamboozles viewers with a deliciously ugly, dialogue-free scenario taking place in 1977 Detroit. Actors Alan Ritchson, Shailene Woodley, Ben Foster, Pablo Schreiber stunningly star in this revenge, action, massively savage, love story; without verbiage they …
Read More »TOY STORY 5 (in theatres)
In today’s world children populate many restaurants, easily spotted by the lighted devices on their laps or the dining tables; parents converse as if they are not there. AND THEY ARE NOT. Animated films lack a certain appeal but because of the popularity of this Pixar franchise, directed by Andrew Stanton, I went, and admired the message. Devices are conquering …
Read More »THE ODYSSEY (shot entirely in IMAX) in theatres
A magnificent feat of filmmaking that will resonate with viewers regardless if one is familiar with the Greek poet, Homer’s iconic tale; it is a visual masterpiece, director Christopher Nolan’s films are about time hence there is a timelessness pulsating throughout his movies; from “The Dark Knight Rises” franchise, “Dunkirk”, “Interstellar” (starring Nolan’s choice for Odysseus, Matt Damon), “The Prestige”, …
Read More »LEVITICUS (in theatres)
Horror has a powerful appeal for devoted fans across demographics, location, gender, and education. Dark, surreal films are often shown late at night at film festivals, and some of the most insightful conversations unfold in those quiet, haunting early-morning hours. Years of addiction, sampling horror mania from all cultures has led to ultimate discrimination in filmmakers’ horrific imaginations; perpetual competition …
Read More »DISCLOSURE DAY (in theatres)
In preparation for this enormously edifying film, I watched “Close Encounters of the Third Kind” (1977) for the third time, and its timely forecasting of “Disclosure Day” out of the inimitable imagination of director Steven Spielberg. This visitation held and focused my mind on the musical score composed by John Williams; its five-note musical motif was the communication tool used …
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