V.26 No.24 | 6/15/2017
Paris Can Wait
Rambling romantic trip to Paris should have taken the bullet train
Paris Can Wait is exactly the sort of pretty, pseudo-exotic, post-menopausal romance you’d expect a wealthy, film-obsessed octogenarian to make in conjunction with Lifetime Films.
V.26 No.23 | 6/8/2017
My Cousin Rachel
Love, marriage and maybe murder in merry olde England
Between My Cousin Rachel's intriguing opening and its punchy ending, the nuanced script and subtle direction successfully elevate du Maurier’s self-consciously old-fashioned source material.
V.26 No.22 | 6/1/2017
The Wedding Plan
Israeli romantic comedy eschews romance and comedy, but still finds sympathy for its undaunted heroine
The Wedding Plan never fully convinces as a romantic comedy but has a certain charm and velocity that’s hard to escape.
V.26 No.21 | 5/25/2017
Married couple cheat on the cheaters they’re cheating with in admirably drab domestic dramedy
Yo Dawg, I heard you like cheating, so I put cheating in your cheating so you can cheat on your cheater.
V.26 No.20 | 5/18/2017
Norman: The Moderate Rise and Tragic Fall of a New York Fixer
Richard Gere commits to character in influence-peddling drama
If your attention span is sturdy enough and your interest in international business/Israeli politics strong enough to get you through a swamp of wordy details, Norman is worth catching for the committed character work of Richard Gere.
V.26 No.19 | 5/11/2017
Feature: Film Guide
Sequels, Superheroes, Sharks, Spirits, Squirrels and Shoot-’Em-Ups
Summer film guide 2017
Use this guide to navigate the possibilities available to you at your local cineplex between Memorial Day and Labor Day.
V.26 No.18 | 5/4/2017
Unsettling Japanese horror-hybrid knows how to make skin crawl
Creepy makes the most of its long-simmering atmosphere of tension and dread, shying away from clear psychological and supernatural resolutions, to provide enough unwholesome suggestions to make you look askance at your fellow man.
V.26 No.17 | 4/27/2017
Gritty urban horror-drama contemplates the sad life of a vampire wannabe
Michael O’Shea’s savvy, self-conscious debut film, The Transfiguration, is best exerting its queasy magnetism on lovers of art-house horror, who will appreciate its subtle manipulations of the overworked vampire genre.
V.26 No.15 | 4/13/2017
Dramedy about brains will hit you in the feels
Gifted is a calculated film, to be sure. Emotions will be manipulated, tears will be jerked. But it’s such a sweet-natured story, filled with such likable people, that it’s hard to remain cynical.
V.26 No.14 | 4/6/2017
Hugely popular Japanese anime explodes on American shores
Your Name is the sort of enjoyable, easy-to-access gateway drug that could introduce a whole new audience to the art of anime.
V.26 No.13 | 3/30/2017
The Boss Baby
Weirdly conceived kiddy cartoon bogs down in confusing mythology
The bones of an interesting story are scattered throughout the film, but The Boss Baby is a convoluted idea with no coherent narrative and too many butt jokes.
V.26 No.12 | 3/23/2017
Woody Harrelson is your friendly neighborhood misanthrope in softhearted graphic novel adaptation
The humor employed here is angry and uncomfortable (and frequently quite funny, if you’re so inclined), but the script stops short of plumbing the crushing, existential loneliness at the center of it all.
V.26 No.11 | 3/16/2017
The Sense of an Ending
Modest British drama pits the past against the present, but neither one is really that big a deal
The Sense of an Ending features some subtle performances and an intrigue-filled setup, but squanders much of its potential with a too-teasing narrative and an inability to pay off properly in the end.
V.26 No.10 | 3/9/2017
The Ottoman Lieutenant
Period romance is predictable but pretty
It’s no Doctor Zhivago, but in its own thrifty way, The Ottoman Lieutenant delivers polished, well-paced (if entirely predictable) costumed romance.
V.26 No.9 | 3/2/2017
Jordan Peele turns racial tension into all-out terror in timely horror-comedy
Horror films, at their best, have always served as a mirror for society’s most up-to-date fears. Now comes another timely take on the genre, exploiting a topic that could not be more ripped-from-the-headlines: racism in America.