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  • Vox Lux

    Vox Lux

    ★★½

    Watched in memory of the departed prince of darkness, Scott Walker. Obviously late to the party on this one, but I’m apparently more or less alone in preferring the vibe of the second half, Jude Law and Natalie Portman’s dueling Ratso Rizzo impressions et al. Willing to give Corbet the benefit of the doubt and say that it isn’t really about pop music, but about the country’s inability learn from its traumas. Not that that this draws any meaningful conclusions of its own; the concert finale is a dud.

  • Fuori dal giorno

    Fuori dal giorno

    ★★★

    Intriguing super-low-budget time capsule of early ‘80s Rome that follows 24 hours in the life of an aspiring filmmaker and small-time coke dealer played by Sebastiane's Leonardo Treviglio. Writer-director Paolo Bologna—who doesn’t seem to have had the resources to define a central conflict—gets some mileage out of the contrast between the clichés of the work-in-progress film-within-the-film (in which our anti-hero also plays a drug dealer) and the drab reality of selling coke to sweaty Italian yuppies and getting screwed over…

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  • The Immigrant

    The Immigrant

    ★★★★★

    No one's written the Great American Novel yet, but James Gray went ahead and made a movie out of it anyway.

  • Star Wars: The Last Jedi

    Star Wars: The Last Jedi

    ★★★½

    About as idiosyncratic, stylized, and wacky as these things are likely to get. Johnson really doubles down on the the original’s Kurosawa influences (lotta rain, cinders, and chanbara-style sword fighting here) and the hoodoo mysticism of the Force. (There are points where this almost threatens to turn into “John Boorman’s Star Wars.”) The action scenes—both of the Star Destroyer and light saber varieties—are some of the best in the series.