• The Haunted Mansion

    The Haunted Mansion


    This contains little of the charm of the Disney ride — even during the portions copied straight from it. The only highlights: The Southern gothic production design and Terence Stamp as Ramsley, the mansion’s extremely droll butler.

  • Multiple Maniacs

    Multiple Maniacs


    The church scene really gives a whole new meaning to the name Divine. And when the lobster showed up, I fully lost it. Just utterly shellshocked by shellfish.

  • On Dangerous Ground

    On Dangerous Ground


    After a first act filled with typical trappings of ’50s crime drama — a filthy city where the night never ends, a “good” cop driven mad by his job — this takes a sharp turn into unexpected territory, when the detective (Robert Ryan) gets so violent that his boss sends him upstate to chill out while offering his services to the local force as they investigate a murder.

    The two halves play off each other in interesting ways, with Ryan’s brutal…

  • Here Today

    Here Today


    A truly bizarre non-rom-com. Full review at ScreenCrush.

  • Star Wars: The Rise of Skywalker

    Star Wars: The Rise of Skywalker


    “There's been no one for so long. Who are you?”

    “I'm Rey.”

    “Rey who?”

    [Rey looks off into the distance. She finally has her answer.]

    “Rey Sleazebaggano.”

  • The Immortal Story

    The Immortal Story


    Find someone who loves you as much as Orson Welles loved wearing dodgy makeup.

  • The Hill

    The Hill


    A forgotten gem of Lumet’s catalogue, a prison drama that enunciates the genre’s typical themes — crime and punishment, claustrophobia, man’s capacity for cruelty — with outstanding cinematography by Oswald Morris. The camerawork isn’t necessarily flashy — very little about Lumet’s work is — but it’s marvelously expressive, especially its treatment of “The Hill,” a giant mound of dirt in the middle of a British prison camp used to punish inmates who get out of line. It looms in the background of…

  • Masters of the Universe

    Masters of the Universe


    I can’t believe Monica never told any of the other Friends that she met He-Man.

  • Cotton Comes to Harlem

    Cotton Comes to Harlem


    Proto-blaxploitation and proto-buddy cops, along with sharp social satire, authentic New York flavor and locations, and an absolutely first-rate car chase that stands among the best I’ve seen of the period. Not sure why I never got around to watching this one before; I was missing out. It’s streaming on Criterion Channel as of this writing.

  • Close-Up



    Watched it again with Criterion commentary by Mehrnaz Saeed-Vafa and Jonathan Rosenbaum, which is illuminating in many ways — especially in the scenes where even they, the experts, have no idea whether what we’re watching is documentary footage or a reenactment.

  • Tom Clancy's Without Remorse

    Tom Clancy's Without Remorse


    A movie like its hero: Cold, detached, brutal, and a little one-dimensional.

    Full review at ScreenCrush.

  • Close-Up



    “I don’t have time for movies, I’m too busy with life!”