It’s based on a memoir written by an Olympic-caliber skier sidelined by a serious injury who makes a shady new career running high-stakes poker games, then refuses to name names once her operation is busted.
Expect to hear a lot of praise heaped upon this deeply romantic gay coming-of-age tale. Count this reviewer among the few who were not totally ravished by it.
Sometimes a movie is worth seeing simply because the actors seem to be having such a blast playing off-type; Jumanji 2 is that sort of movie.
Beneath the shiny surface of an almost-universal stamp of approval among movie critics, Rian Johnson’s new chapter in the Star Wars saga, Star Wars: Episode VIII – The Last Jedi, has polarized the fandom like nothing has since the introduction of Jar Jar Binks.
Gary Oldman stars as Winston Churchill in director Joe Wright’s new film. Oldman completely sells the transformation, offering up the range of the man from supremely self-confident to near-broken.
Coco’s look is derived from the friendly-skeleton iconography of Día de los Muertos celebrations and the delightfully lurid colors of the monster figurines known in Mexico as alebrijes.
Some may roll their eyes at the prospect of yet another kickass heroine at a time when kickass heroines are in peril of being nominated Cliché of the Year. Others will happily point to Frances McDormand’s latest creation as the personification of the zeitgeist, with the movie’s release coinciding with a tsunami of revelations about sexual assaults.
Laurie Metcalf does an extraordinary job insinuating glimmers of forgivability into an eminently unsympathetic mother to Saoirse Ronan’s character in Lady Bird. It’s clear that Ronan’s Oscar-nominated 2015 performance in Brooklyn was no fluke.
Cranston dominates and is by far the most entertaining up front; Carell’s low-key portrayal of a mild-mannered man who waits far too long to rebel is the one that will crawl under your skin and come back to haunt you afterward.
There’s more humor than horror in this one.