Michael Marano
“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.
The performances in Mountains are astounding, and Monica Sorelle’s sure-handed direction heralds a new and formidable talent.
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.
“Kingdom of the Planet of the Apes” — Think “I, Claudius” with monkeys, by way of “Lord of the Rings” and “The Searchers.”
“Love Lies Bleeding” is a glorious work of sweaty, dusty, pulp filmmaking.
Despite its flaws, “Dune: Part Two” is a grand, sprawling, and deeply intelligent science-fiction epic.
The heart, intelligence, and the artistry of “Godzilla Minus One” makes it one of the best kaiju films ever made.
“Soylent Green” should be seen as a work of future history, a docudrama of things that, in 1973, had yet to happen but are happening now, 50 years later.
The dehumanization in The Little Mermaid is not just a matter of the absence of craft; at heart, this is a cynical investment that can’t transcend its craven essence.
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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