Tag: Review
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The Growing Pains of ‘Welcome to the Dollhouse’
Todd Solondz has fashioned a great cinematic Bildungsroman.
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‘The Wicker Man’ is a Nightmare You Can’t Wait to Revisit
Unlike in the movie, where an “appointment” with the eponymous structure is, spoiler alert, unappealing, any appointment with any copy of ‘The Wicker Man’ sounds conversely appealing
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The Subjects of ‘Boys Don’t Cry’ Deserve Better
This well-intentioned biopic is bristled with distortion and damaging excision.
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On ‘Naked Lunch’
Not uncommon for Cronenberg, who often makes apolcalyptic-feeling movies in which sense is never among the top priorities, ‘Naked Lunch’ is never rational.
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Forces of Personality
On ‘Boudu Saved from Drowning’ and ‘Elena and Her Men.’
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A New Kind of Rock Doc
On ‘Justin Bieber: Never Say Never,’ ‘Katy Perry: Part of Me,’ and ‘One Direction: This is Us.’
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‘The Dead Don’t Die’ is Minor Jim Jarmusch
The film, by its end, makes for a collection of exceptional performances and jokes strung together by an allegory whose center doesn’t hold.
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‘Creepshow’: An Anomalously Solid Horror-Anthology Movie
All efficiently capitalize on fairly all-inclusive fears and sprinkle in some nihilism and black humor for good measure.
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Maggie Cheung Gives One of Her Best Performances in ‘Center Stage’
But the movie is made shakier because of its distrait presentation.
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Private Eyes
‘Claire’s Camera’ is an epigrammatic 69 minutes, yet its short running time isn’t synonymous with sketchiness or lazy economy.
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On ‘Amazing Grace’
At the center of this church, Aretha Franklin creates not just a feeling of home and unity but announces herself as the closest thing to a divine being personified in that place and that moment.
Peterson Reviews 