"If you catch me on the right day and ask what I think the best comedy of all time is, it’s very likely I’ll say it’s 1938’s screwball classic Bringing Up Baby. At a minimum, I’ll proclaim this Howard Hawks masterpiece the most consistently laugh-out-loud funny motion picture I’ve ever seen, and that alone puts it in the upper echelon of the genre as far as I’m concerned."
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"John Wick: Chapter 4 does not know when to quit, and I’ll take bets that few are going to care. This is an action spectacular that delivers one eye-popping sequence of extended mayhem after another. The story hits the sandy desert at a determined gallop and then stubbornly refuses to slow down, and for almost three hours straight, director Chad Stahelski and star Keanu Reeves go for broke on a level not seen outside of bullet-riddled Hong Kong cinema of the 1980s or 21st-century, gore-drenched Korean genre fair."
"I like happy endings as much as the next person. I’m all for intense dramas dealing in tough, uncomforting subject matter to offer up hope and the opportunity for redemption for the characters going through such demoralizing ordeals. But A Good Person adds schmaltz where it does not belong, and instead of observational distance that could further humanize the events Allison and the others are confronting, Braff forces ghastly treacle down the viewer’s throat. It left a bitter taste in my mouth, and sadly I don’t think that rancid aftertaste is going to dissipate anytime soon."
"Dragonslayer is one of those seminal cinematic moments that has stuck with me for countless reasons. First off, looked at now, Robbins’ film is undeniably superb. The world he creates for his sorcerer’s apprentice Galen (Peter MacNicol) and the boy-who-is-really-a-girl Valerian (Caitlin Clarke), whom he falls in love with, is marvelously realized. Every facet of Elliot Scott’s production design feels lived-in and authentic. The Dark Ages come alive in ways seldom seen at that time and rarely equaled all these decades later. It’s mesmerizing."
"The genius of the film, a labor of love for all involved and a passion project for Ice Cube, Dr. Dre and Eazy-E’s wife Tomica Woods-Wright for over a decade, is that I don’t have to relate, I just have to understand. Gray, along with screenwriters Jonathan Herman and Andrea Berloff (World Trade Center), plop the viewer into the center of things, ask us to listen to what it is these masterful musicians and lyricists are saying, to stop focusing…
"But the main reason the film works as well as it does is that Edwards and his crew treat the material like they’re making a hard-hitting WWII epic in the vein of Battleground or Attack, only also one mixed with the likes of The Dirty Dozen, The Big Red One and Where Eagles Dare, a healthy dose of Platoon and The Thin Red Line thrown in for good measure. This is a gritty film, one where the stakes for these…
