> Oren Moverman’s first film as a director, The Messenger, was a beautifully contained, emotionally detailed story about soldiers assigned to deliver tragic news to the families of the deceased.  In his new film RAMPART, which premiered at the Toronto Film Festival, Moverman is more ambitious and, unfortunately, a victim of the sophomore jinx. This […]

> Pawel Pawlikowski is a filmmaker whose name deserves to be better known: his films Last Resort and My Summer of Love are small but beautifully realized stories of intricate human emotion. His new picture The Woman In the Fifth, is in a somewhat different mode, edging toward genre, but it continues to display his […]

  WEIRD: THE AL YANKOVIC STORY (Roku – November 4):  A comic book fantasia of a celebrity “biography,” Eric Appel’s Weird: The Al Yankovic Story (co-written with Yankovic himself, who’s also one of the producers), takes some fragments about the parody musician’s life and work, and transforms them into a nonstop array of gags that […]

  This was a Toronto Film Festival unlike any other, and not just because I “attended” it from the laptop in my house.  Toronto has become an important stop on the road to the Academy Awards, with 9 of the past 10 Best Picture winners premiering or screening there.  (Birdman was the exception.)  But no […]

  THE FORGIVEN (Focus/Universal – TBD):  In 1963, Pauline Kael famously wrote a piece entitled “The Sick-Soul-Of-Europe Parties,” and almost 60 years later, if you add the US to the guest list, John Michael McDonagh’s The Forgiven presents a bash in the same vein.  McDonagh’s script, based on a novel by Lawrence Osborne, underlines in […]

  The allegory is piled on so thickly in Yorgos Lanthimos’ THE LOBSTER that after a while, it’s not clear just what the underlying subject is supposed to be.  Lanthimos is a cult-favorite filmmaker (the cult mostly consists of critics and film festival selection committee members) whose arresting Dogtooth was an unlikely Best Foreign Film […]

> One of the enduring questions of Madonna’s illustrious quarter-century career is how someone so brilliant in managing every other facet of her persona has consistently made such terrible decisions when it comes to movies.  It’s the one medium where she’s never succeeded, and even when she’s occasionally done something right, she instantly follows it […]

> It’s anyone’s guess why Francis Ford Coppola, at the age of 72, with some enduring cinema classics to his name, would decide to make a movie that’s a cross between a David Lynch retread, an old horror cheapie, and a hallucination.  What matters is that the resulting TWIXT is utterly dreadful, the worst film […]