Review: The Black Phone Is an Impressive Original Horror Story with Strong Child Actors at its Core
From the mind of Stephen King’s offspring, son Joe Hill, The Black Phone (based on Hill’s short story) concerns a…
Review: The Northman Is Visceral, Brutal Filmmaking with the Budget to Prove It
Gritty, bloody, visceral and front-loaded with a need for vengeance, the latest work from writer/director Robert Eggers (The Witch, The…
Review: American Remake The Guilty Is a Tense, Effective Drama with Another Strong Performance from Jake Gyllenhaal
Closely following the one-man plot of its 2018 Danish source material (which went on to become Denmark’s Oscar contender that…
Review: Contradictions, Obsessions and Ethan Hawke’s Commitment to Character Illuminate Tesla
Shortly after the thud made by last year’s long-delayed The Current War, we get a much stronger and more nuanced…
New York Review: Ethan Hawke and Paul Dano in a True West That Flips the American Dream
True West, Roundabout Theatre’s staging of the Sam Shepard play, stars two fine actors—Ethan Hawke and Paul Dano. It’s a…
Review: The Kid Feels Like a Familiar, Special Western
The tendency of most modern Westerns is to go about as dark as you can, but few in recent memory…
Review: Music, Booze and a Big Heart in Story of Blaze
The life of Texas singer/songwriter Blaze Foley isn’t that complicated, but he left behind a stash of largely unknown songs…
Review: Paul Schrader’s First Reformed Is Combustible, Captivating
I’ve been watching a lot of movies for a long time, and yet I’d be the first to admit I…
Film Review: Sally Hawkins is Remarkable in Maudie
You’ve likely never seen a story before like the one told in director Aisling (The Daisy Chain) Walsh’s Maudie, even…
