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Filtering by Category: movies
Zendaya, producer/star of Challengers, surveys her domain. (MGM/Amazon)
I saw Challengers a few weeks before I filed my mixed-positive Washington City Paper review, which is less than ideal but occasionally unavoidable. Candidly, I expect my estimation of the movie will rise when I see it again. It’s possible I was too triggered by the mid-movie knee trauma to give its second half my full concentration.
Kirstin Dunst as photojournalist Lee Smith. (Murray Close/A24)
Wherein Ex Machina auteur Alex Garland’s immaculate craft bumps up against his dodgy judgment. This is a yelling-fire-in-a-crowded theater movie. Leave the destruction of the White House to clowns like Roland Emmerich, FFS. My Washington City Paper review is here.
Kong is the more expressive of the two stars of Godzilla x Kong, despite being second-billed.
“So Godzilla x Kong does the reluctant-allies thing for the second time in two movies, and it can’t quite hide that, despite their palpable love-hate chemistry on-screen, G and K probably don’t get along any better in real life than Bruce Willis and Cybill Shepherd.
Reviewed for the Washington City Paper.
Look at what you can learn to do from watching Road House. (Laura Radford)
This week, I interviewed Pulitzer Prize winner and MacArthur “Genius” grantee playwright Suzan-Lori Parks and chopped up the new Doug Liman-directed, Gyllenhaal-headlined Road House with pals Linda Holmes and Aisha Harris. Like itinerant philosophy grad Dalton from Road House ‘89 , I contain multitudes. Or at least severalitudes.
Katy O’Brian and Kristen Stewart in Love Lies Bleeding (A24).
Writer-director Rose Glass’ sophomore feature is the lurid, horny hybrid of Blood Simple, Thelma & Louise, Bound, and Pumping Iron you didn’t know you needed. Reviewed for WCP.
Timothée Chalamet and Denis Villeneuve on location on Arrakis. (Niko Tavernise)
I feel better about my headline than I do about “the sandworm has turned.” Reviewed for WCP.
Melvin Van Peebles’ son can shoot in two directions at once.
For the day job, I wrote about Black westerns on the occasion of Mario Van Peebles’ new one, Outlaw Posse. No relation to his prior western, 1993’s Posse, except for the familial kind.
My Washington Post review of prolific writer/director/producer/showrunner Ed Zwick’s name-dropping but also name-naming memoir is here.
