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In a ten-day period there has been a blitzkrieg of biopics about singers/musicians born between the years 1923-1929; inspired geniuses, “Apollo” (Greek mythological god of music) shed his potency, enabling them to sparkle above the fray; more than their distinguishing gifts, it is the lure of illicit substances that infuses, defines their commonality: Hank Williams, (1923-1953), “I saw the Light”; …

Harrowing. Haunting. A drama so powerfully filmed and acted it will hover eerily in your consciousness for days after viewing. “Krisha” (sensational portrayal by Krisha Fairchild), a woman in her 60’s perpetually stares in the mirror searching for shadows of her bygone beauty; the camera mercilessly strokes a face ravaged by alcoholism; written and directed by  Trey Edward Shults. Krisha, …

How do average, relatively intelligent parents, cope with a prodigy? Writer/director Jeff Nichols, more than entertaining fantastical journey, featuring an eight-year-old boy, “Alton” (miraculously performed by Jaeden Lieberher) with skill sets beyond the norm and a time schedule predetermined by unknown forces, presciently addresses this dilemma; his father, “Roy” (another stunning portrayal by Michael Shannon)  facing supernatural challenges and “Lucas” …

Hank Williams (1923-53), country western singer and songwriter, supernova, whose fire was extinguished at the age of twenty-nine; a damaged heart and back (spina bifida), a voracious alcohol and drug addiction cauterized his longevity. He is immaculately depicted by English actor Tom Hiddleston. Hiddleston, an accomplished Shakespearian actor (check out the BBC broadcast of “The Hollow Crown: Henry V”) bears …

It is rare when a Bollywood film lingers in Western theatres for more than a week; surprisingly, but more than worthy, “Kapoor and Sons” survived the seventh day elimination; blurring the lines between east and west the movie focuses on three generations of the “Kapoor” family, confronting issues pervasive in all cultures: love, rivalries, indiscretions, subterfuge; a family torn asunder, …

There is a purity, a sublime essence in “Marguerite” that is sensationally unique; an unlikely heroine, both tragic and admirable, a Diva whose talents lie in the bastardization of every iconic aria created by the masters of music; Mozart, flayed, her favorite, unworthy victim. Catherine Frot is magnificent as “Marguerite”, a Countess of formidable means in 1920, Paris; her screeching, …

It is instinctive in horror, war, egregiously violent films that we turn away, shut our eyes or exit the theatre; this is the first time that I experienced such horrific, unmitigated, cringing embarrassment, sickening malaise in a film, that on the surface, is billed as fanciful and funny; in actuality is a pathetic pandering, to thankfully a tiny, elite group. …

Hollywood loves Joel and Ethan Coen, and the more they ridicule, parody, negate the bubble-like milieu, their lovability balloons. “Hail, Caesar” is an anemic, bland slam of the “old”, bygone era where pretense supersedes reality, stars’ foibles are masked, protected by the “studio”. “Eddie Mannix” (based upon an MGM executive of the same name) is stunningly depicted by Josh Brolin; …

Animation has never appealed to me; even as a child I wanted the “real deal”; there are exceptions and “Zootopia” falls into that category;  a welcome hiatus from the limbo of mediocrity film lovers wallow in between the Academy Awards and the summer movie blitz. “Zootopia” is a contemporary, mammal metropolis reminiscent of any “people-populated” city; disparate neighborhoods, anthropomorphic animals, …

Squeamishly, creepily compelling, producer J.J. Adams and director Dan Trachtenberg delve into the realm of “Howard”, a man lusting and prepared for a post-apocalyptic world; his underground technologically secure bunker is stock -piled with food, films, games and all the essential accoutrements for a year of closeted living. “Howard” (a staggering, weird, corpulent John Goodman) has two roommates: “Emmett” (likeable, …