‘Saltburn’ Offers More Empty Shocks from ‘Promising’ Director
Writer/ director Emerald Fennell’s “Saltburn” has a lot in common with her prior film, the celebrated “Promising Young Woman” (2020). I’m not being complimentary. Like “Promising Young Woman,” Fennell’s new film tries hard to be provocative but winds up being not enough and not much of anything. I recognized the talent in the filmmaking, a …
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Why ‘Napoleon’ Will Surprise Everyone
Ridley Scott’s “Napoleon” isn’t “Waterloo” (1970), or that Armand Assante-led TV movie from 1987, nor anything like what Stanley Kubrick designed and nearly made with Jack Nicholson decades ago. In fact, even if one recalls Scott’s body of work and how often he portrays historical battles (everything from “The Duellists” to “Gladiator” to “Kingdom of …
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Fincher’s ‘Killer’ Finds Auteur Back Where He Belongs
David Fincher’s new film, The Killer” is exactly the kind of movie you’d expect the brilliant dark prince of cinema to make once he got “Mank” (2020) out of his system. Not based on the landmark 1989 John Woo film of the same name (as I incorrectly assumed when the project was announced) but a …
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‘Killers of the Flower Moon’ Is Nothing Like We Expect
Martin Scorsese’s “Killers of the Flower Moon” is unlike any film the director has ever made before, though you could pull “The Age of Innocence” (1993) as a possible reference. Both are historical dramas that recreate a world that no longer exists or is even remotely recognizable. Then again, you also have another Leonardo DiCaprio …
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Why ‘Pumpkinhead’ Perfectly Nails Generational Evil
“Pumpkinhead” (1988) is the directorial debut of Stan Winston, a giant in the special effects field. Anyone who grew up reading Starlog and Cinefantastique, subscribed to Bantha Tracks or absorbed any televised special regarding the making of “Star Wars” knows Winston is a rock star among make-up artists. The opening scene of “Pumpkinhead” is set …
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Why ‘Waikiki’ Is Unlike Any Cinematic Trip to Hawaii
When we meet Kea (Danielle Zalopany) in “Waikiki,” she’s working as a singer in a karaoke bar, living in her van and broke. Her ex shows up during her shift and is furious about her working in a place filled with sleazy patrons. Not long after, Kea drives off and makes a terrible mistake. In …
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Little Bite Left in ‘Pet Sematary: Bloodlines’
Lyndsey Anderson Beer’s “Pet Sematary: Bloodlines” has an ambitious idea for a prequel and a rich atmosphere to carry it for a while. It’s also worth noting that the film begins and ends with the iconic line “Sometimes Dead is Better.” When you have to hit that line twice, you know your horror prequel is …
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Provocative ‘Fair Play’ Doesn’t Play Fair
Chloe Domont’s “Fair Play” made a sensational debut at the January 2023 Sundance Film Festival, then made a belated premiere on Netflix this month. Like any film festival favorite that premieres on a high-profile streaming site, there’s the danger of it being overshadowed by flashier fare. Whether you’re fully on board with writer/director Domont’s take-no-prisoners …
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‘Halloween H20: 20 Years Later’ Should Have Ended Franchise for Good
Steve Miner’s “Halloween H20: Twenty Years Later” (1998) opens with “Mr. Sandman” by The Chordettes (as did “Halloween II”) and a pumpkin being stabbed with a large kitchen knife. The filmmakers are telling us, after the murky world-building of “Halloween: The Curse of Michael Myers” (1995), we’re back to John Carpenter’s stripped-down, original vision. Set …
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‘The Keep’ Remains Michael Mann’s Fascinating Misfire
Michael Mann’s “The Keep” (1983) is a deep cut in his body of work, a severely compromised studio film that presents a transitional moment in the filmmaker’s creative journey. Based on F. Paul Wilson’s enjoyably pulpy 1981 horror novel, Mann’s film, known as a notorious misstep in its day, has grown as an appreciated work …
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