Michael Marano
Ya gotta understand — corporate assholes are like Sauron’s boss, Morgoth. They are incapable of creation. They can only appropriate and warp, like how Morgoth appropriated and warped Elves to create Orcs.
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It’s Jeremy Strong’s portrayal of Roy Cohn that hangs in this not-very-good movie like a Rembrandt on the cracked plaster of a La Quinta suite by the airport.
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This is a work of towering, masterful, sustained cinematic rage set at the dawn of the Reagan Era.
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In “Megalopolis,” we have Francis Ford Coppola, Titan of Cinema, unleashing his undiluted meditation on Roman History, US History, Political Rivalry and Cooperation, Urban Planning, Technology, Love, Marriage, etc.
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“The Front Room” lacks the suspense and tension of “My Mother the Car” and, on top of that, it doesn’t have the benefit of a super-catchy theme song.
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The performances in Mountains are astounding, and Monica Sorelle’s sure-handed direction heralds a new and formidable talent.
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Disney has bought Fox, so the “Alien” franchise is now incapable of having an impact close to what it initially had, when it redefined what science fiction/horror films could be.
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“Kingdom of the Planet of the Apes” — Think “I, Claudius” with monkeys, by way of “Lord of the Rings” and “The Searchers.”
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“Love Lies Bleeding” is a glorious work of sweaty, dusty, pulp filmmaking.
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Film Commentary: Looking Sharp, Leatherface! “The Texas Chain Saw Massacre” Turns Fifty
No 4k DVD, Blu-ray, theatrical digital, or streaming version of the movie improves on the visceral electricity of the original “The Texas Chain Saw Massacre”.
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