FAHRENHEIT 11/9 (Midwestern – opens September 21):  In the course of Fahrenheit 11/9, Michael Moore takes a shot at Jeff Zucker and Les Moonves for admitting that Donald Trump has been good for their businesses, but it’s a weakness of Moore that he lacks the self-knowledge to recognize that the same is true for […]

> Jim Field Smith’s comedy BUTTER, which premiered at the Toronto Film Festival, ambitiously makes a play for both the heartwarming indie Little Miss Sunshine audience and the satire-minded Election crowd.  That may be one play too many, but the movie is worth seeing anyway. Jason A Micallef’s first produced script is set in the […]

  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 […]

THE SUBSTANCE (MUBI – Sept. 20):  It’s quite a feat to take the body horror crown at a film festival that also features a contribution from David Cronenberg, but Coralie Fargeat’s The Substance uses its revolting imagery in a funnier, crazier, and more focused manner than Cronenberg’s The Shrouds.  The setting is an only slightly satiric […]

  BELFAST (Focus/Universal – Nov. 12):  Kenneth Branagh’s semiautobiographical film walks a path laid by many great works by master filmmakers, including Fellini’s Amarcord, John Boorman’s Hope and Glory, and Alfonso Cuaron’s Roma.  Compared to those, Belfast is a relatively minor work, yet quite enjoyable on its own terms.  The setting is 1969, as “the […]

  GLASS ONION (Netflix – November 4 in theaters, December 23 online):  After Rian Johnson’s Knives Out broke through to become one of the increasingly few non-IP-based mainstream hits in the market ($311.6M worldwide), Netflix moved aggressively to buy out the franchise, reportedly paying $450M for the next 2 crime-solving adventures of detective Benoit Blanc […]

  David Ayer’s END OF WATCH brings a new wrinkle to the “found-footage” genre by using it in a cop movie.  LAPD Officer Brian Taylor (Jake Gyllenhaal) wires a camera to his uniform, and constantly photographs what’s going on while he’s on the beat, supposedly to generate footage for a documentary he wants to put […]

  IF BEALE STREET COULD TALK (Annapurna – November 30):  Barry Jenkins’ follow-up to Moonlight received a rapturous standing ovation at its Toronto premiere, and it’s unquestionably a beautiful piece of filmmaking,  Jenkins reunited with most of his Moonlight creative team, including cinematographer James Laxton and composer Nicholas Britell, and with a higher budget at […]