Tag: Review
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The Blissful Myopia of ‘Atlantic City’
Despite the overwhelming presences of failure and missed opportunity — like no matter how hard you try, you cannot effectively, cleanly, run away from your past — it still feels, to me, like an optimistic movie.
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On Humphrey Bogart’s Last Move
‘The Harder They Fall’ is a solid, economic thriller.
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On ‘The Watermelon Woman’
Notes on Cheryl Dunye’s personal, inventive drama.
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The Good Old Days
‘Where the Boys Are’ and ‘Beach Party,’ reviewed.
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‘Deep Cover’ Challenges Police Procedural Norms
On an invigorating cop noir.
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The Overpowering Loneliness of ‘Separate Tables’
In ‘Separate Tables,’ carefully tucked-away secrets come to the fore
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Beauty is Pain in ‘Death Becomes Her’
Hawn and Streep are both terrific.
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‘Brute Force’ is Best At Its Weariest
Which is to say when disgust at the prison-industrial complex is at its barest.
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‘Slums of Beverly Hills’: Family Values
The ensemble pushing it all forward is uniformly excellent, although Lyonne is so exceptional — she turns feigning bewilderment into an art form — that she predominantly is the person who makes the movie worth pursuing.
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The Indelible Paranoia of ‘The Parallax View’
The storyline is so rife with close calls and contrived developments that I ultimately enjoyed ‘The Parallax View’ not as I would, say, ‘All the President’s Men,’ which was as mistrustful as it was plausible-feeling. It’s more like fretful, intelligently designed pulp fiction.
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‘The Kids Are All Right’: Or Maybe Not
Cholodenko has made ‘The Kids Are All Right’ not in the key of an American tragedy but rather in the spirit of a semi-lightweight slice-of-life dramedy.
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You Can’t Look Away from ‘Color of Night’
I like to think of ‘Color of Night’ not as a mere failure but more a kind of transcendent moment where every one of the erotic thriller’s most tiresome tropes coalesced and then started the process of stupefying genre self-cannibalization.
Peterson Reviews 