Tag: 2020s
-
‘My Mom Jayne’ is a Moving Act of Familial Investigation
Mariska Hargitay’s 2025 voyage into her iconic mother’s past abounds in tenderness and hard truths.
-
‘Her Private Hell’ is a Provocative Bore
Nicolas Winding Refn’s first feature-length project since 2016’s ‘The Neon Demon’ is too uninteresting to make you want to give too much air to the outrage it seems to half-anticipate.
-
‘The Odyssey’ is Christopher Nolan’s Best Movie in Years
Plus: The dreamy, hard-to-pin-down quality of Avalon Fast’s ‘Camp’ is a feature, not a bug. (For South Sound)
-
‘The Invite’ is a Riotous Marriage Comedy
Plus: ‘Maddie’s Secret,’ John Early’s homage to the 1980s’ TV movies of the week, pulls off the unexpected. (For 425)
-
‘Night Nurse’: Georgia Bernstein’s Atmospheric, Opaque Feature Debut
The filmmaker’s audacious, narratively undernourished new feature has, above all else, great style.
-
‘Jackass: Best and Last’ Plays It Safe
The storied prank franchise’s purportedly final chapter only underscores how well 2022’s ‘Jackass Forever’ functioned as a finale.
-
‘When Night is Falling’: Silly and Sensual
Patricia Rozema’s 1995 romantic drama’s self-seriousness sometimes induces laughter, but its endearingly earnest celebration of fantasy makes it (just barely) work.
-
Emily Blunt Gives One of Her Best Performances in ‘Disclosure Day’
Plus: ‘Stop! That! Train!’ is a delightful spoof comedy slightly sabotaged by a special-effects controversy. (For 425)
-
‘The Stroll’ is a Stirring, Deeply Personal Documentary
Homing in on a segment of the Meatpacking District that once was the stomping grounds of trans sex workers, the 2023 documentary powerfully builds on the experiences of subject and co-director Kristen Lovell.
-
Acting Out
‘Forastera’ and ‘Scary Movie,’ reviewed.
-
‘Backrooms’ Does More Than It Needs to
Kane Parsons’ adaptation of his popular web series is best when it leans into its mysteriousness.
-
‘I Love Boosters’ is Thematically Resonant, Narratively Muddled Fun
Rapper-turned-filmmaker Boots Riley’s long-awaited feature-length follow-up to 2018’s ‘Sorry to Bother You’ is amiable but a little all over the place.
Peterson Reviews 