Netflix is the business these days, isn’t it? Look at me, for instance, all covering a pair of new Netflix releases earlier this month, all getting ready to cover a couple more in April; over the last handful of years the streaming giant has gone from being little more than a digital library for forgotten, … Continue reading
“A 7 months pregnant woman starts murdering the people involved in her partner’s death because her unborn baby tells her to.” That’s Prevenge in summation. In my mind, there’s an alternate dimension where the film attached to that summation is just a winking, nudging, overly self-aware video nasty, and it’s probably fun but too insistent on … Continue reading
Every year for the last five years, springtime has provoked a transformation of sorts in me, or maybe more accurately provoked my unabashed and kinda obnoxious excitement. If you’ve been keeping up, you can probably guess why: Spring in Boston means Independent Film Festival Boston, which means that for a week or so, Andy gets … Continue reading
Lew, You wrote back. I can’t believe you wrote me back. I’m sure anyone else peering in on our correspondences will think the five month gap between my last missive and your response is somewhat strange, but I don’t care; I’m just grateful you thought enough of me to say anything at all. Pardon me … Continue reading
There is no poster for Deidra & Laney Rob a Train (at least not one that I’ve found via multiple Google image searches). There should be a poster for Deidra & Laney Rob a Train. Is this going to be a thing for movies that debut on Netflix (or any streaming service) instead of premiering in theaters? … Continue reading
We’re back with Paste Magazine’s routine and newly evergreen “10 best movies in theaters” feature! (Meaning: We’re going to update this sucker on a regular basis without remaking a new list every time the month changes over. Seems more efficient, yeah?) This round-up features, among other films, XX, Get Out, Kong: Skull Island, and of course Moonlight, which got … Continue reading
It’s not a secret that Samuel L. Jackson is one of my enduring faves, so it shouldn’t be surprising that I found an opportunity to write praise in his name, either. Over at ye olde Birth. Movies. Death., I prattled at length about Jackson’s opening salvo of 2017 roles and how they validate him as … Continue reading
It’s a thing in the entertainment biz that if a movie about subject A is released into the pop cultural wilds, inevitably another movie about the same subject will be released shortly thereafter. To wit: Andrew Neel’s Goat opened in theaters last September, detailing the intimate particulars of fraternity hazing rituals and rites of initiation. It’s … Continue reading
Remember that time I reviewed Andrew Haigh’s 45 Years? I sure haven’t forgotten it. In part that’s because I just got my copy of The Criterion Collection’s Blu-ray release of the film in the mail; in larger part it’s because I recently saw The Sense of an Ending, the new film from The Lunchbox director Ritesh Batra, and … Continue reading
What’s that, you say? A list? Honestly, I kinda wish we’d been able to keep this sucker to 40 for synchronicity’s sake, but the 40s were a fertile period in cinema all over the world, in particular Japan, Italy, and America, so we had to bump the number out by 10. There are worse things. Anyways: … Continue reading
Speaking of truth in movie titles, here’s Catfight, a movie that is both honestly and dishonestly named at the same time. It is, in fact, about a rivalry between two women living in New York City, played by Anne Heche and Sandra Oh, but it is not, in fact, about just one “catfight” (here defined mostly … Continue reading
Sometimes, all you want is for a movie to be about the thing it says it’s about. Case in point, Headshot, a movie about a guy who gets shot in the head, survives, loses his memories, regains his memories, and, after grappling with the realization that he was trained from childhood to be a killing machine, … Continue reading
I’m officially free of my Taboo-reviewing duties, at least until the next series (because there are two more, apparently, which is as much a surprise to me as it might be to you all) goes to air in 2018, presumably. If I’m being honest, I’m going to miss writing about this thing; I wouldn’t say I … Continue reading
Instead of talking about the Oscars, let’s talk about The Criterion Collection’s excellent slate of February releases, including Kirsten Johnson’s Cameraperson, which deserved at least a nomination in the Documentary category (but of course could never have gotten one, because it is not in any way an AMPAS film). For me, it’s all about Mildred Pierce, the … Continue reading
A Constant Visual Feast 