Noah Baumbach directs George Clooney through a sometimes effective, sometimes cloying, sometimes phony mash-up of Charles Dickens’ A Christmas Carol and Federico Fellini’s 8 1/2 (1963).
Netflix’s four-hour electronic lynching never stops for a moment to delve into what could’ve been a fascinating documentary, and even a valuable one, about the depravities people are willing to engage in pursuit of fame and, most importantly, how they later come to regret it.
You know the drill. Links will take you to where you can stream each title.
This is the first memorable movie released by Netflix in what feels like years—since 2019’s The Irishman, perhaps.
What we get with this Running Man is the exact opposite of what we got with Running Man (1987), and that’s a movie that knows what it’s about.
I actively hated Now You See Me: Now You Don’t, the third entry in the 12-year-old Now You See Me franchise, a franchise I forgot existed until threatened with this one.
By the time the credits rolled, I found Predator: Badlands satisfying and imaginative.
Shame on everyone involved in the pretentious pail of anti-movie making called A House of Dynamite.
Happy Halloween. Here are your assignments for the week. Links will take you to where each title can be streamed, so there are no excuses to miss one.
“Springsteen: Deliver Me from Nowhere” is an engrossing, moving, beautifully-acted tribute to the integrity of the artistic process.
It’s 24/7 horror movies at the Nolte household this week, so this week’s assignment will reflect that because this is not really a column about widening your movie knowledge.
“May God and Your Glock Protect You,” is not only a line of dialogue in director Salvador Litvak’s engrossing and relevant Guns & Moses, it’s the movie’s tagline, the one featured prominently in the advertising.
As we move closer to Halloween, you will see more and more horror movies added to this list. The goal, as always, is to hopefully expose you to titles you’ve not seen before.
Ari Aster’s ‘Eddington’ is the perfect antidote to the pro-terrorist ‘One Battle After Another’.
The far-left Hollywood Reporter is angry that conservatives are accurately describing director Paul Thomas Anderson’s One Battle After Another as what it is — an amoral piece of pro-terrorist propaganda.
Like almost everything produced by Netflix’s soulless algorithm, Monster: The Ed Gein Story is a total waste of time. It has nothing to say about the human condition, nothing to say about society, and at least if you watch paint dry, something happens—the paint dries.
Here are your assignments for next week. The links will take you to where you can stream each title.
One Battle After Another is basically an inverted remake of D.W. Griffith’s racist 1915 masterpiece, Birth of a Nation.
My summation of what Sovereign is about is the sin of pride. Jerry allows his politics to consume and define his identity, who he is as a man, and especially who he is as a father.
Hollywood had 46 years to get The Long Walk right … and still blew it.
The Conjuring: Last Rites is a compelling family story disguised as a just-okay horror movie.
Caught Stealing writer Charlie Huston adapted his own novel for director Darren Aronofsky, and the results are entertaining but sadly forgettable.
Looking at this week’s list, I realized I hadn’t watched an old movie this week. Then I realized one title is 41 years old, another is 53 years old, which means if I don’t consider them old, I’m old.
All that’s missing in Relay is the character depth that comes from sensuality, which the left’s woke puritans have outlawed since 2016.
This week, we will expand your horizons with some foreign movies. I believe one even ends with “Fin,” which is as foo-foo foreign as it gets.
The problem with most sequels is apparent in Nobody 2, which does many things right but cannot recapture the endless pleasures of the original.
Weapons is as mesmerizing as stories get. Nothing is contrived. Nothing is predictable. You’ll want to see it on the big screen.
Let’s hope The Naked Gun (2025) is a monster hit and marks a return to the good-natured, likable comedy. The first half alone is more enjoyable and filled with more laughs than 99 percent of what passes for comedy these days.
Some movies are so effective at creating their own personal world that you want to jump inside of them, live in them.
Granted, I’ve not seen every piece of sh*t squeezed out by the Marvel Cinematic Universe (MCU) since Avengers: Endgame six years ago, but Fantastic Four: First Steps is the first I didn’t actively hate and actually enjoyed.
This seemed like a good time to look back at the best of the most overlooked horror movies released during the 1990s.
Is there another franchise with three sequels and a streaming series where everything sucked but the first entry, which is only fairly decent? Give it up already.
Superman’s biggest problem is that Superman is a lunkhead, a superbro, with no philosophy beyond that of a child’s: he doesn’t want people to get hurt, you see.
Here are the five best movies about old age, all of which examine the inevitable (for the lucky) in different ways…
Hell, just knowing I’d be spared the sight of stupid Chris Pratt stupidly holding up his stupid hands was enough to boost my optimism.
F1 not only works as a standalone piece of entertainment but as a sad reminder of what going to the movies was like before the industry lost its ever-loving mind.
Over eight years, Cannon Group released around a hundred movies, here are the five best ones…
With Brad Pitt’s F1 set for release as a Big Summer Movie in days, this seems like a good time to look back at movies about professional auto racing—and please note the deliberate use of the word “professional.”
28 Years Later is choppy, lazy, filled with cheap CGI, pretentious in its serious moments, only pretends to be about something, and not worth your time.
Believe it or not, Gene Hackman was not director William Friedkin’s first choice for The French Connection. Hackman wasn’t even Friedkin’s tenth choice.
