But for one unfortunately critical element, Logan and Noah Miller’s SWEETWATER (the brothers rewrote a script originally by Andrew McKenzie) is a highly enjoyable darkly comic western, as subsumed in stylized movie traditions (and their subversion) as a Tarantino movie, but without Tarantino’s post-modern stew of references. Sweetwater is your basic frontier town, half-way to Santa […]

  The writer/producer/director John Wells made his reputation as the showrunner of ER, and he’s known as one of the most consistent, professional producers in the network business, with impeccable shows like The West Wing and Third Watch to his credit.  In recent years, though, he’s been spending a lot of his time in the more rambunctious world […]

  Despite its compact scale, Emma Donoghue’s bestselling novel ROOM was a daunting candidate for film adaptation, because so much of its impact depends on its very specific narrator’s voice, a 5-year old named Jack who has lived his entire life in the shed where his Ma (whose other name is Joy) was taken captive […]

  STUDIO 54 (no distrib):  Matt Tynauer’s documentary covers all the bases of the disco that defined nightlife for a surprisingly brief time in the late 1970s, from the club’s construction on the site of an old CBS TV studio, to its “no bridge and tunnel” door policy (even though co-owners Steve Rubell and Ian […]

  THE FAREWELL (A24):  Lulu Wang’s The Farewell is what could be called Sundance Classic, a small, very personal film nurtured by the festival into wide enough attention that A24 paid $6M to release it.  It’s based on Wang’s own life, so much so that it would be a spoiler to reveal the caption to […]

  THE WORLD TO COME (Bleecker Street – March 2):  Although the story is set in 1856, this is 2021, so it’s not hard to see where Mona Fastvold’s The World To Come is heading.  Ron Hansen and Jim Shepard’s script begins in the dead of winter, in the wilderness that was upstate New York […]

  THE GOOD NURSE (Netflix – Oct. 26):  An unusually serious thriller about a serial killer.  Tobias Lindholm’s film, from a script by Krysty Wilson-Cairns (who wrote 1917 and  Last Night In Soho) and based on a book by Charles Graeber that recounted a true story, has a deliberately ambiguous title.  It seems at first […]

  THELMA (no distrib):  In recent years, we’ve seen the rise of what might uncharitably be called Old Lady Cinema, noisy comedies like the Book Club franchise and 80 For Brady that milk gags out of the spectacle of actresses of a certain age talking about (and even engaging in) sex and some light drug […]