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Out in Theaters: ‘FANTASTIC BEASTS AND WHERE TO FIND THEM’

A pleasant but slight distraction from the wickedness of 2016, J.K. Rowling’s Fantastic Beasts and Where to Find Them turns back the clocks on the Harry Potter Universe to 1928 where the pesky Newt Scamander and his suitcase full of fantastic beasts have just entered New York City. Beasts earns points distinguishing itself from its predecessor by taking on a new time period, centering on an older (if still largely charming) cast and moving the action to America where new rules, regulations and verbiage (“muggles” are no more, “no-maj” being the US equivalent) prevail.  There’s hints of magic peppered throughout – James Newton Howard’s electrifying score, sharp visual tricks up the sleeve, Eddie Redmayne’s recklessly crooked smile – but as a standalone installment, Fantastic Beasts certainly stops short living up to its titular adjective. Read More

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Out in Theaters: ‘ARRIVAL’



A palindromic tour de force, Denis Villeneuve’s Arrival is a real film lover’s film. A product of deep emotional and intellectual beauty, loaded with provocative philosophical treatises, smart symbolism and crafty red herrings, Arrival’s rich palette of heady questions and satisfying answers make for a movie-going experience that will surely dwell on long after the film reaches its sock-knocking, bittersweet conclusion. Cast doubt aside. Villeneuve, after four English-language films, manages to maintain his unfathomable winning streak and appears to only continue to sharpen his craft as a storyteller and visual artist. Read More

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Out in Theaters: ‘DOCTOR STRANGE’

With Doctor Strange, Marvel pries open a doorway to a new realm, one filled with magic and mysticism, dark dimensions and malevolent deities. Filled with heady three-dimensional visuals and eye-bulging psychedelic set pieces, Doctor Strange fulfills the promise of its inspired marketing push. That is, it is as close as Marvel has come to being Inception on crack. And let me assure you, that is a good thing. Led by a game Benedict Cumberbatch playing on type as a smarmy elite member of the intelligentsia, Doctor Strange nonetheless suffers the Marvel formula, the “portal problem” and yet another utterly disposable single serving villain. Read More

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Out in Theaters: ‘HACKSAW RIDGE’

Mel Gibson, he of the religiously verbose variety, has been embroiled in a very public war with Hollywood – and himself – over the last decade. The director of Braveheart, The Passion of the Christ and Apocalpyto became persona non grata when audio of his now famous anti-Semitic rant, followed by threatening messages made to his then-girlfriend Oksana Gregorieva, went public. Ever since, Gibson’s been trying to claw his way back into the good graces of the mainstream and with the double shot of Blood Father and Hacksaw Ridge, may have just found some footing. Read More

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Out in Theaters: ‘CHRISTINE’

Almost 7% of the American population has been diagnosed as suffering from depression. That’s roughly 15 million people today. In 1974, though depression was recognized as a serious mental disorder, it wasn’t regarded with the same weight that it is today. After all, the mental disease didn’t enter the DSM III until 1980.  Christine, from Simon Killer director Antonio Campos, takes a look at infamous Sarasota reporter Christine Chubbuck and her struggle with depression in sad, sanguine, cinematic streaks. Read More

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Out in Theaters: ‘THE HANDMAIDEN’

There’s something fishy about The Handmaiden and it’s not just the octopus in the basement. Chan-wook Park, the South Korean director of such darkly realized stunners as Oldboy and Lady Vengeance, is a noted storyboard guru. Each frame a picture, the film-critic-turned-filmmaker has a stunning eye for specificity that is reflected in the urgent nuances of every camera movement, every prop, every look, every framing choice. So when his latest picture reaches the conclusion of its first act and turns time back to the beginning, we become fiercely cognizant of the various misdirection at play. After all, the devil is in the detail. And you know that with Park’s distinctively dark auteur style, there are an abundance of both devils and details. Read More

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Out in Theaters: ‘OUIJA: ORIGIN OF EVIL’

This week’s screening schedule forced what seemed initially a difficult decision in that the two wide releases played against one another on the same fateful night. Though I was only a mild fan of the first, Jack Reacher: Never Go Back offered Tom Cruise (of whom my readers will know I am a lifelong fan) a chance to get back in cahoots with Tom McQuarry (Mission Impossible: Rogue Nation). Ouija: Origin of Evil had a very different pull. Ironically, I had lamented the inevitability of its creation when handing out a D- to McG’s fetid attempt to turn the chilling board game to movie form. And yet Mike Flanagan, director of Oculus and just earlier this year Hush, is as seductive a marque name as any when it comes to the horror genre and I just couldn’t help but give over to the spirit of October and throw my chips in with the scarier offering. Turns out, it was a great choice. Read More

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Out in Theaters: ‘IN A VALLEY OF VIOLENCE’

If you had told me that John Travolta would comeback from his recent Academy Award persona butchery (2014’s “Adele Dazeem”, 2015’s repulsively awkward Scar-Jo sneak-a-kiss) by playing a sand-blasted moral compass in a Ti West Western (a Western, it must be noted, that is of the genre through and through, absent of the horror flair that has, up to this point, characterized the filmmaker’s oeuvre), I woulda spit my cud. But Travolta is as present for In a Valley of Violence as it is a corn-fed, all-American, organically certified Western. Consider my head scratched. Read More

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Out in Theaters: ‘THE BIRTH OF A NATION’

Nate Parker‘s The Birth of a Nation is an urgent primal scream from American history’s darkest hour. Parker produces, writes, directs and stars in this much needed telling of the trials and tribulations of slave-turned-revolutionary Nat Turner. The relatively well-to-do preacher’s eyes are open to a new interpretation of the good book when his master shops out his sermons, profiteering off Turner’s calming demeanor to quell rebellion amongst more brutalized slaves. He’s soon in high demand from the most vicious slave owners across the land, all who want less sass and more backbreaking for their neglected and enslaved laborers. Read More

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Out in Theaters: ‘THE GIRL ON THE TRAIN’

It certainly won’t work to The Girl on the Train’s advantage to be compared to David Fincher’s Gone Girl but the proximity of the two properties – both feature strong female leads, are based on best selling novels and center on soapy surburian murder mysteries – make such comparisons as unavoidable as they may be unfavorable for director Tate Taylor. Read More