THE CONJURING:  Worth A Ticket – Retro Horror, In A Good Way Watching The Exorcist recently, for the first time in probably a decade, the most striking thing about it was its insistence on a palpable, sometimes documentary-like reality.  Director William Friedkin moved the film at a measured, even slow pace, only gradually raising […]

  LONE SURVIVOR:  Buy A Ticket – A Powerfully Visceral Tale of War Peter Berg’s LONE SURVIVOR, which was shown at the AFI Film Festival tonight in advance of its release late next month, is a docudrama in the truest sense:  based on the memoir by Navy SEAL Marcus Luttrell, it exists with one aim […]

  For SHOWBUZZDAILY’s full set of Sundance capsule reviews, click here.   What kind of filmmaker does Mona Fastvold want to be?  It’s an existential question that comes up often at Sundance, where artistic and industry cred are often judged at the same time.  THE SLEEPWALKER, Fastvold’s first film as director and (with Brady Corbet, […]

  THE THEORY OF EVERYTHING (Focus/Universal) – Opens November 7  – Worth A Ticket There’s a benefit but also a burden to being clear-cut “Oscar bait.”  At this point we all know the kinds of movies the Academy looks upon with favor:  serious biographies, period pieces, leading actors who contort themselves in one way or […]

  MONSTER (no distrib):  There’s less than meets the eye in Anthony Mandler’s Monster.  Based by Colen C. Wiley, Radha Black and Janece Shaffer on Walter Dean Myers’ novel, it seems like it’s going to be a saga of social injustice, dealing as it does with a young black New York honor student (Steve Harmon, […]

  JOKER (Warners – October 4):  One’s perception of Todd Phillips’ JOKER may depend in part on the context in which one sees it.  In the 11 years since Christopher Nolan’s The Dark Knight, the MCU has taken over not just Hollywood’s financial heart but the very tone and definition of the comic-book genre.  The […]

  THE GUILTY (Netflix – Oct. 1):  One way to cope with the challenges and costs of movie production during Covid is to limit the number of actors who have to be in front of the camera.  That’s tough for a thriller, but two Festival movies this year chose the old Sorry, Wrong Number mode […]

  FLORA AND SON (Apple):  John Carney’s Irish dramedy was (with Fair Play) the commercial bonanza of Sundance, reportedly with a $20M pricetag.  It isn’t hard to see why the studio and streamer checkbooks came out, since Flora and Son was one of the festival’s unabashed crowd pleasers.  Like most of Carney’s work (Once, Sing […]