If nothing else, Alien: Covenant is the most ambitious Alien film ever made. It’s almost as if Ridley Scott, foiled in his recent attempts at biblical epics, metaphysical dramas and thorny psychosexual thrillers, decided to revisit those genres under cover of a prized franchise sequel. That’s not to suggest that…
A light and cheery appraisal of a somber subject, Vanessa Gould’s documentary Obit focuses on the writers and editors assigned to the necrology desk of The New York Times. Like other chronicles of dead-tree media made in the past decade — The September Issue, R.J. Cutler’s Vogue ode (2009); Andrew…
Don’t expect Amir Bar-Lev’s Long Strange Trip, a sweeping if not very penetrating look at the 30-year career of the Grateful Dead, to offer major revelations. For any Deadhead — and it’s hard to imagine any other kind of viewer settling in for the four-hour running time — the basic…
Thomas Vinterberg’s The Commune is partly autobiographical: The Danish director of The Celebration and The Hunt lived in a commune between the ages of 7 and 19, at a time when collective living had become popular in Scandinavia. (The phenomenon also inspired Swedish director Lukas Moodysson’s 2000 masterpiece, Together.) Maybe…
Yes, dead men tell no tales — but neither, really, do the Pirates of the Caribbean movies. Rather than stories, the series, of which this 2017 entry is the fifth, offers an unpalatable mix of mincing slapstick, rote derring-do, ponderous CGI, whiskery sea-chanty mysticism, and dutiful action sequences whose only…
In Robin Swicord’s Wakefield, an adaptation of the late E.L. Doctorow’s short story of the same name, disillusioned lawyer Howard Wakefield (Bryan Cranston) chases a raccoon from his decrepit backhouse and … never returns. The story’s not science fiction; Howard doesn’t get swallowed by a black hole. He’s still among…
Both the poet’s body and soul are made ineradicable in Davies’ lovely film.
Yes, there’s spoilers below for this unspoilable show. “Don’t let yourself be hurt this time,” sings Julee Cruise on “Falling,” the plushly minimalist 1989 synth ballad that, a year later, stripped of its vocal and lyrics, would become the opening theme for Twin Peaks. David Lynch himself wrote that lyric,…
Unbreakable Kimmy Schmidt streams on Netflix Unbreakable Kimmy Schmidt’s disparate obsessions form an unwieldy constellation, like a winged horse with three eyes and a blobfish for a tail. Tina Fey’s Netflix comedy mines one-liners from doomsday cults, parenthood, the gig economy, 1990s pop culture, feminine accommodation and the Upper East…
Last year’s Cannes Festival seemed to be all about the past, trauma, and the persistence of memory. It’s too early in this year’s festival to suss out any broad themes, but the one-two punch of Todd Haynes’s Wonderstruck and Andrey Zvyagintsev’s Loveless, the first two Official Competition titles to screen,…
It might be surprising to realize that David Lynch has only ever made one period piece: The Elephant Man (1980), set in the Victorian era. The rest of the director’s films, save for his 1984 sci-fi disaster Dune, take place in what presumably is the here and now. Or, more…
As if hunting wild jungle pig in the Amazon wasn’t enough adventure, Matt Wright had to go and contract an extremely rare flesh-eating bacterial infection. Actually, Wright met up with four different kinds of flesh-eating bacteria while he was a contestant on Discovery Channel’s Naked and Afraid spin-off series, Naked and Afraid XL.
Despite my fondness for Quentin Tarantino, I’ve never been a Reservoir Dogs fan. Back in 1992, the writer-director’s feature debut seemed to me little more than a clever and grotesquely violent one-act play, gussied up with structural whimsy. Yes, the opening scene — black-suited crooks bantering about Madonna and the…
The tagline for David Lynch’s Inland Empire (2006), which he has avowed is his final film, is a four-word fragment: “a woman in trouble.” However simple, the phrase hypnotically evokes the sinister, insoluble mysteries that have been at the core of many of his ten features and especially in Twin…
Heavyweight almost-champ Chuck Wepner was a character long before he inspired Sylvester Stallone to pen Rocky. But Wepner is no Rocky Balboa. Sure, he comes from a working-class town (Bayonne, New Jersey), and when he boxed, he took a good punch, bled like a hemophiliac and dreamed of taking home…
However you look at Julian Assange — radical hero, martyr, Trumpist sell-out, probable rapist, victim of his cult of personality — there’s something in Laura Poitras’ documentary Risk to confirm your point of view. You might not think there would be much left to say on this subject, particularly after…
In Montana, where writer-director Sarah Adina Smith filmed her small-town sci-fi flick, Buster’s Mal Heart, the winter-inversion clouds hang heavy in valleys, trapping the sunlight that bounces off the snow. The effect is a perpetual, sullen twilight. Smith embraces that between-light-and-dark aspect of Big Sky Country to tell the story…
Pour one out for the summer movie season, which was once Memorial Day till Labor Day but now has spread like a self-replicating, geometrically evolving A.I. determined to cleanse the Earth of human vermin. Around the turn of the century, the summer movies started showing up the first weekend in…
Chris Gethard, the comedian and talk-show host, has the look of his own comic-strip avatar. Those black glasses, that elfin, upright forelock, the eyebrows that dance in alarm and amazement: Onstage, in his one-man show, Career Suicide, Gethard could be Charles Schulz’s sketch of Chris Gethard, a work of cartoon…
Newly restored, James Ivory’s elegant and passionate 1987 film, Maurice, adapted from the posthumously published novel by E.M. Forster, is being rereleased. Last year, I had the chance to discuss this film and some of Ivory’s other works with the director. Here is some of our conversation. I remember the…
In 2008, the National Academy of Sciences saw an opening for outreach: Get real science in the movies. And by November of that year, it had begun the Science and Entertainment Exchange, which offered a way for Hollywood to link up with scientists to advise and consult on projects. Dr…
The Alamo Drafthouse opened a theater at 4255 West Colfax Avenue this week, in the rapidly changing Sloan’s Lake area. This is the Texas-based chain’s second location in metro Denver, and it has blockbuster ambitions for cutting-edge programming. But at least one reader doesn’t appreciate this artistic addition to the neighborhood.
