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Out in Theaters: ‘THREE BILLBOARDS OUTSIDE EBBING, MISSOURI’ 

There are many words you can’t say on a billboard but in Martin McDonagh’s darkly comic and borderline brilliant Three Billboards Outside Ebbing, Missouri calling out the local sheriff for failing to bring to justice a rapist, arsonist and murderer is fair game. At least from a legal standpoint. This is the set-up for a crime saga unlike any other, McDonagh’s film a foul-mouthed mystery brimming with colorful characters, its jet-black tone and surprising emotionality capable of causing fits of laughter and bouts of urgent somberness in what is one of the best films of 2017. Read More

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Out in Theaters: ‘LADY BIRD’ 

Indie darling Greta Gerwig breathes life into directorial “debut” (she co-directed Nights and Weekends in 2008) Lady Bird with passion and pathos. Gerwig’s strong freshman feature strikes a balance between the mumblecore sensibilities of frequent collaborators Joe Swanberg and Noah Baumbach while bringing a refreshingly anarchical female voice into the choir. Lady Bird as a character and film manages both tenderness and lawlessness; caught in the confuddling mix of teenage hormones and perceived oppressive parenting; rebelling against the grain, oft to her own detriment; Gerwig’s capable filmmaking expertly capturing that claustrophobic  feeling of teenage angst and insurgency; Saorsie Ronan performing the hell out of the role.  Read More

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Out in Theaters: ‘THOR: RAGNAROK’

Candy-colored Thor: Ragnarok is a retro, dimension-hopping hoot. Rambunctious, joyous and just plain fun to watch, Ragnarok is shellacked with vintage Taika Waititi style, the critical darling director behind such rollicking Rotten Tomatoes-adored comedy-adventures as Hunt for the Wilderpeople, What We Do in the Shadows and Boy retaining his idiomatic filmmaking tactics even under the watchful eye of notoriously handsy Marvel producers. The best of the Thor films (and this coming from someone who actually admits to enjoying the previous two), Ragnarok employs Taika’s signature witty, irreverent approach to comedy and his knack for building genuine camaraderie among squirelly outcasts to craft the funniest blockbuster of the year, one that doubles as a hell of an odd-couple intergalactic road trip, even if it still barely breaks the lather-rinse-repeat nature of the Marvel Cinematic Universe mold.  Read More

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Out in Theaters: ‘MOST BEAUTIFUL ISLAND’

Indelicate slow-burn thriller, Most Beautiful Island is a tragic immigrant story married to a Polanski-esque social horror film. Star, writer and director Ana Asensio filters the angst, hostility and debasement of the American immigrant experience through a seedy thriller film where pressure mounts impossibly minute by minute until it’s unleashed in a jaw-dropping finale, the less said about the better.  Read More

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Out in Theaters: ‘SUBURBICON’

A Beaver Clever-era, suburbia-set take on the Fargo formula, Suburbicon manages to tack onto its strange plot plagiarism a tone deaf racial integration backdrop and a slew of characters unable to pass as either likable or interesting. It’s an oddly comfortless misfire from director George Clooney, one that seems promising on paper but never is able to click once the tape starts rolling. Snooze-inducing if stylish, Suburbicon takes a host of talent in front of and behind the camera and squanders it in on an effort that, while never outright stupid, is almost unbearably not as smart, clever or funny as it seems to think it is.  Read More

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Out in Theaters: ‘THE KILLING OF A SACRED DEER’

No one makes ‘em like Yorgos Lanthimos, the Greek auteur/comedic sadist responsible for such cinephelic gems as Dogtooth and The Lobster. Taking much of the same human-as-reporters-of-fact Wes Anderson forthrightness and filtering it through a lens of awkward depravity, The Killing of a Sacred Deer follows pace with The Lobster, wherein singles mingled forcibly lest they be hunted down by a strictly coupled off society. This is something even more dark, otherworldly and delirious where coupledom proves a debilitating battle of wits and parents have little loyalty.   Read More

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Talking With Sean Baker of ‘THE FLORIDA PROJECT’

Sean Baker. A man so humble that when I inaccurately stated the number of films he’s made, he not only didn’t not turn up his nose at me, he actually ran to his hotel room to grab me copies of the films I had missed. So it probably comes as little surprise that this man, a 46-year old New Jersey native, would be behind a film as empathic and compassionate as The Florida Project.   Read More

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Out in Theaters: ‘THE SNOWMAN’

The Snowman, Tomas Alfredson’s (Let the Right One In) adaptation of Jo Nesbø’s Norwegian best-seller of the same name, is an icy cold movie. Frigid to the touch, there is no spark of life to be found in this desolate frozen tundra of a film nor is there anything resembling a mere flicker of intelligence. A detective joint that cannot stand up under the slightest bit of scrutiny, this mindless slog tries to follows in the footsteps of films like Seven or The Girl With The Dragon Tattoo, what with its random explosions of grizzly violence and salty procedural backbone, though nothing of that sort ever comes to pass. Instead we’re victim to a mopey, faux-edgy, pseudo-gritty, sulking, snow-blasted post-mortem noir impersonating smarter, sexier, more engaging entries from the often beloved genre. To call it freezing cold garbage is only the icing on this frosty cake of shite. Read More

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Out in Theaters: ‘THE FLORIDA PROJECT’ 

The Florida Project, a.k.a. Someone Call Child Protection Service: The Movie, is a brusquely effecting, blisteringly real portrait of quiet, destitute tragedy, bursting with one of the most authentic child performances I’ve ever seen. A bristly, bruising display of white trash voyuerism that earnestly examines and dissects what occurs behind closed doors in this destitute swatch of Florida slums, Sean Baker’s film manages a stoic, unjudging, curtain-drawn-back quality that escapes most storytellers, even if the narrative propelling the story is often secondary to the characters operating within it. 
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Out in Theaters: ‘HAPPY DEATH DAY’

It’s only right that Happy Death Day, wherein a sorority girl is forced to live the day she is murdered over and over again, takes an entire scene to namecheck Groundhog Day. After all, this film from Christopher Landon (Paranormal Activity: The Marked Ones), is a crude combination of that beloved Bill Murray satire, Tina Fey’s hit teen film Mean Girls and any of the various slasher films from 1974 onward, particularly Black ChristmasRead More