Reviews And Otherwise

Review of Jennifer Lopez’s return to the romantic comedy genre.

Overview of the Academy Awards Best Picture nominations plus some observations on other categories.

Discussion of Woody Allen’s RIFKIN’S FESTIVAL, the first episode of W. Kamau Bell’s docuseries WE NEED TO TALK ABOUT COSBY and how to regard quality of work and public plaudits while being aware of problematic/toxic behavior at the same time.

Discussing Pedro Almovodar’s very good showcase for Penelope Cruz, plus hit and/or miss social commentary fare from Adam McKay and Michael Showalter.

Reviewing Fran Kranz’s photographed stage play MASS and Joel Coen’s technically brilliant but dramatically underwhelming adaptation of Shakespeare’s MACBETH.

Reviewing Lin-Manuel Miranda’s assured (sometimes Fosse-esque) directorial debut and the annual George Clooney-directed Prestige Movie.

New reviews of Maggie Gyllenhaal’s directorial debut and Mike Mills’s first film since 20TH CENTURY WOMEN.

Discussing Lana Wachowski’s resurrection of THE MATRIX, which attempts to thread together meta jokes/references and conventional fan service.

Catching up with the Nicolas Cage indie crossover PIG, as well as reviews of SWAN SONG (Mahershala Ali), Guillermo Del Toro and Kim Morgan’s NIGHTMARE ALLEY and Aaron Sorkin’s BEING THE RICARDOS.

Reviewing the now little known 1961 political drama with Dean Martin as a co-opted Southern governor—and Paul Verhoeven’s drama on the intersection of sexuality and 17th-century religion.

A few words on the new WEST SIDE STORY, and where it fits into the Steven Spielberg canon (mainly the Spielberg of late who aspires to William Wyler/George Stevens status).

Discussing Pablo Larrain’s SPENCER and Kristen Stewart’s sure-to-be win of the Best Actress Academy Award.

A few words on Ridley Scott’s pop culture banger about machinations and murder in the world of high fashion.

A few words about Kenneth Branagh’s coming-of-age in Northern Ireland cinematic memoir—which, hopefully, won’t receive AMPAS neglect like last year’s MINARI.

Discussing Jane Campion’s new film, which has fine acting and period ambience but is more reigned in and over controlled than its admirers realize.

Three of the films which may be competitive in acting and directing categories during this awards season.

A few remarks about passing up the recent glut of Marvel TV series, only to return for a Disney+ showing of the IMAX-enhanced SHANG- CHI AND THE LEGEND OF THE TEN RINGS.

Three period films with different aims: reviving the prestige historical drama, reactivating the dormant subgenre of Black Westerns and a colorful character study of immersion/survival in problematic 1960s London.

Discussing horror movies that aren’t as well-known as the genre staples—from Lionel Atwill’s gruesome pre-code MURDERS IN THE ZOO to Frankie Avalon playing an adult in 1970’s HORROR HOUSE.

Covering the dutiful Denis Villeneuve retread of DUNE and Todd Haynes’s more exciting guided tour of seminal art rock/protopunk band The Velvet Underground.

The latest resurrection of prolific killer Michael Myers, courtesy of David Gordon Green, Danny McBride and Blumhouse; guessing that next year’s HALLOWEEN ENDS won’t be the end of Michael if money can still be made.

Discussion of NO TIME TO DIE plus two of its predecessors in mixing high drama into the license to kill plus escapism formula (THE LIVING DAYLIGHTS and THE WORLD IS NOT ENOUGH).

Review of Paul Schrader’s latest fillm THE CARD COUNTER, the latest in his God’s Lonely Man narratives. Plus the non-artistic, but occasionally effective sequels to the first two Carpenter/Hill HALLOWEEN films (kudos to Danielle Harris).

Begins with tribute to the late Michael K. Williams, mentioning his role in John Leguizamo’s CRITICAL THINKING. Also reviews of Clint Eastwood’s latest curtain call CRY MACHO and Nia DaCosta’s sequel/reboot to CANDYMAN.

Reviewing the faux BLADE RUNNER Irish science fiction ZONE 414 with Guy Pearce, plus Noah Baumbach’s MR. JEALOUSY (1997) and Claude Chabrol’s A DOUBLE TOUR (1959) with the late Jean Paul Belmondo.