… The primates of the first section live in a world without tools, and thus don’t know what to make of them; the future humans of the later sections live at the mercy of their tools, and thus don’t question them — until, finally, they do
The main character, this time named Frank (Nick Offerman), like (High) Fidelity‘s Rob, owns a record store and lectures women about music as if they don’t have opinions — or ears — of their own
Now, a slick young billionaire (voiced by Bob Odenkirk) has a plan to make superheroes popular (and legal) again by televising their exploits, and chooses Elastigirl over Mr. Incredible as the face of this new campaign …
Stanley Kubrick’s magnum opus returns to theaters, presented on unrestored 70-millimeter film.
The calamities come with accelerating speed, and everything happens so quickly that you don’t even have time to wonder if you’re having fun or not
Like the shows she’s considering, Bolin soon expands out from comely corpses to survey a wider world, in this case many of her pop obsessions …
From the very first scene, Pose boasts a purposefully slick veneer of artificiality — it’s a little too art-directed, a romanticized version of poverty straight from the set of Rent
Through archival footage of Rogers both on and off the set of his iconic show, as well as interviews with his family, friends and former crew members, Won’t You Be My Neighbor? draws a flattering yet complex portrait of its subject, who died of cancer in 2003
FilmBar sets screening on 50th anniversary of Monkees’ one and only film, Head.
… While John Wick is all action, no talk, Artemis is the polar opposite, Pearce stretching out the will-they-won’t-they (kill each other) tension as long as possible, until every violent criminal is trapped in this hotel
That elfin wit Rash plays Bernard, the schlemiel-ish old college pal/rival of David Koechner’s carousing Huey, a one-man sexual Sherman’s March blazing from the Hudson to the East River
Simply put, the clockwork heist that Ocean’s 8 promises (and, by its end, dazzles with) limits the film’s ability to offer what you might actually want from it: the chance to relish this cast
The horror of Hereditary lays not just in scary images but in creeping sense that free will is a joke, and bad luck can be as inescapable as a family curse
… Much like a paper by a student who has read the wiki but not the work, Mary Shelley marshals its evidence without revealing more, without connecting to the soul of the matter.
For all its jittery heist drama, American Animals is, above all else, an accidental study in just how much white kids can get away with and still be welcomed back into society
Its heights might on occasion yank your stomach to the theater floor, but much of Mountain is a bit of a bliss-out, a chance to contemplate the planet’s most remote and dangerous places and our relationship to them
… This is essentially Denis’ movie about the dating game — the highs and lows, the setbacks and surprises, the wine-filled meals and sublimely silent car rides flush with the possibility of either consummation or heartbreak
Because one pivotal Get Out close-up displays Gabriel’s astounding emotional range in just three seconds, the actor’s face has become memorialized in GIF-dom
Teeming with abandoned buildings full of thugs to be dispatched, ruled over by shadow corporations and wicked artificial intelligence, Whannell’s film plays like the smarter-than-you’d-think 2018 version of some 1988 kill-’em-all VHS cheapie
Michael Mayer’s sunnily bleak all-star film, I fear, squirms through the first acts of Chekhov’s masterpiece the way a cast member’s 8-year-old cousin might in a theater seat
In The Tale, both repression and revelation take the form of stories — the stories we tell ourselves and the sometimes irreconcilable stories other people tell about us
Both series unfold from the perspective of the “bad guys,” and both juxtapose a life of crime with the mundane everyday — for Barry, the world of desperately aspiring Los Angeles actors, and for The Americans, the Jennings’ domestic life …
