Film Reviews

This year's top prize at the Cannes film festival is an audacious, lurid circus that leaves me not only disappointed but actually regretting the experience.

Soderbergh is back doing what he does best — scattering criminals like billiard balls, and then knocking down one strong scene after another. He may not play a perfect game here, but this is one of his best in many years.

How does it make any sense to give our attention to the dramatization of a society's violent overthrow while we we are watching it happen in the real world, right now, either elsewhere in the world or here, either swiftly or in slow motion? Nevertheless, this might be the best time for us to watch Quo vadis, Aida? and open our imaginations to its characters.

Special guest reviewer Micah Rickard offers some reflections on a very tricky matter that Cartoon Saloon's Wolfwalkers handles particularly well.

Krasinski's follow-up to his smash-hit sci-fi thriller works like a charm — mostly because it's made up of familiar sequences that worked like a charm in better movies.

Here's one from the dusty basement that might not be more than a reminder that even the greatest actors sometimes sign on to forgettable projects.

Posted at Looking Closer for the first time, here is Overstreet's 2016 reflection on Tom McCarthy's The Station Agent.