Both a film noir and a candy-colored confection, Pedro Almodóvar’s Julieta is one of the most absorbing films he’s made in years. It’s also, perhaps, one of the saddest: Its bright hues and vivid textures offset a deep, unshakable melancholy. Based on a trio of Alice Munro short stories, Julieta…
One of the quasi-bohemians in Mike Mills’ gauzy 20th Century Women loves to document ephemera, taking photos of everything she owns. A similar instinct — archiving as art — guides Mills’ movie itself, a trip back in time in which era-specific talismans substitute for genuine thought. Though big feels glut…
The Belgian crime drama The Ardennes is predictably tense and violent, but its aesthetic pleasures are also considerable. Director Robin Pront plays a lot of familiar notes, but with just enough verve and variation to keep things interesting. The film opens in the immediate aftermath of a botched robbery, as…
Despite his reputation, M. Night Shyamalan has never lived and died by the twist. His best films, like Unbreakable or even last year’s cheerily nasty wicked-grandparents thriller The Visit, work first as accomplished, emotionally engaging suspense. What’s most memorable about them isn’t the final-act revelations or even the quietly impressive…
Like its subject, the man who took McDonald’s from a single burger shop to a globe-straddling child-fattener, John Lee Hancock’s The Founder can’t stop selling. The first fast-food kitchen, set up in 1953 by the solemn McDonald brothers in San Bernardino, gets celebrated here as rousingly as John Glenn’s first…
One of the most powerful documentaries of 2016, Keith Maitland’s Tower immerses the viewer in the 1966 massacre at the University of Texas, during which Charles Whitman fired from a clock-tower in Austin, shooting 49 people and killing 16. The film takes a somewhat surprising and stylized approach to re-creating…
M. Night Shyamalan appears again to be having a moment. His last film, 2015’s grandparents-gone-wrong horror flick The Visit, proved a small hit with critics and audiences alike, and his latest, this week’s multiple-personality abduction thriller Split, seems poised to do likewise. And why not? Both films are effective chillers…
Roger Corman is not a visionary. But he is a prophet foretelling the future. In 1954, the notoriously thrifty B-movie/genre director pioneered the multi-picture deal, selling his low-budget Fast and the Furious to American Releasing Corporation with a guaranteed two-movie advance — Universal eventually licensed the film/title for one of…
Maybe it’s a just a sign of the Blumhouse-era horror-movie world we find ourselves in, but there’s something refreshing about a scare flick that (a) actually shows you its monster occasionally and (b) gives you a definite reason to be afraid of it. Hiding things in shadows to enhance audience…
Wade Gardner will be premiering his documentary Marvin Booker Was Murdered, Friday at Cleo Parker Robinson Theater.
For better and for worse, Peter Berg has found his genre. After oscillating between sports (Friday Night Lights), superheroes (Hancock) and even board games (Battleship) without much distinction, the writer, director, producer and actor has made a loose trilogy in which Mark Wahlberg reenacts recent tales of American heroism. Lone…
Somewhere inside the 128-minute Live by Night is a reasonably solid 168-minute movie struggling to get out. No, that’s not a typo: You can sense the contours of an absorbing story as writer/director/star Ben Affleck’s slapdash and fragmented assemblage limps along. Most of the pieces are there, but they remain…
Walking out of Jim Jarmusch’s Paterson last May at Cannes, I felt like it was the closest the director had come to making an artistic manifesto. Having seen it again, I’m even more convinced. Jarmusch first arrived in New York back in the 1970s with dreams of becoming a poet,…
Near the end of Underworld, the 2003 film that launched the popular (and profitable) horror franchise, Viktor (Bill Nighy), king of the vampires, tries to kill the werewolf (a.k.a. Lycan) lover of his protégé, Selene (Kate Beckinsale), and she is not pleased. Grabbing a sword, Selene leaps straight up and…
The Bad Kids of Crestview Academy is a sequel, and if you’re asking yourself, “Of what?” you’re not alone. Just add to that the question of: “Why?” The original low-budget mega-gore film Bad Kids Go to Hell had a modestly kitschy, fun premise to match its title: The Breakfast Club…
In the ’80s and ’90s, there were action movies. They starred muscly guys like Arnold Schwarzenegger or Sylvester Stallone, or martial artists from Jean-Claude Van Damme to Cynthia Rothrock, or actors who were dedicated to the physical demands of the genre, like Bruce Willis or Wesley Snipes. They mostly told…
New year, new us! JK, new year, same ol’ us: watching TV and hiding in a hole from the bitter January cold and impending doom. The only solution? Watching all the television! You can take the day of the inauguration off to protest, but I expect you back under the…
Almost all of the history of American movies flows into Steven Spielberg, and the movies that have come since can’t help but be in response. As a storyteller and as a cultural figure, his closest precedent isn’t John Ford or David Lean, but Dickens, another age’s popular titan, beloved more…
Three Colorado films are headed to Sundance. One has landed a Netflix deal.
Accepting the Welt Literature Prize in Berlin on November 10 of this year, the novelist Zadie Smith said, “Time travel is a discretionary art: a pleasure trip for some and a horror story for others.” She was speaking, of course, of the conviction among so many white people that there’s…
“With all respect, sir, may I ask, who are you?” “What you see before you is a man, a simple monk.” “Are you the Lord Buddha?” “I believe I am a reflection, like the moon on water. When you see me, and I try to be a good man, you…
Martin Scorsese opens his foreword to the latest edition of Shusaku Endo’s Silence with a simple, impossible question: “How do you tell the story of Christian faith?” The director isn’t presumptuous enough to present his adaptation of that beloved novel as a definitive answer, but his film does read as…
