ReelViews for R movies

For the most part, Netflix has two modes of films: high-profile prestige projects and “lesser” titles that use recognizable stars to lure bigger audiences. The Woman in Cabin 10 fits snugly into the latter category. For lack of a better descri...

Over the years, World War II has proven to be fertile territory for the motion picture industry – so much so that nearly every conceivable tale, event, and “angle” has been covered. However, although the “nothing new under the sun” p...

This is the sort of movie that gives “chick flicks” a bad name. It’s a cross between inept melodrama and a bad sit-com. The “comedy” (for lack of a better word) is obvious, poorly timed, and not especially funny. The “drama” (again, f...

The best things about Paul Thomas Anderson's There Will Be Blood are not elements that will build large audiences. This is a film about character development/disintegration and a comprehensive look at the early days of the oil industry. The more ...

The Farrelly Brothers' first two films, Dumb and Dumber and Kingpin, were outrageous, uncouth, bawdy, and unapologetically lowbrow. Their third film, There's Something about Mary, is all of those things and one more: hilarious. I rarely chuckl...

They Shall Not Grow Old, the first nonfiction venture by The Lord of the Rings’ director, Peter Jackson, represents a startling trip through a time capsule into a world that, in both a real and existential sense, no longer exists. A collage ...

You know what they say about "too much of a good thing?" That applies to They Will Kill You, the English-language debut of Russian filmmaker Kirill Sokolov, whose hyperkinetic approach to killing Satanic cultists is initially funny, bracing, and t...

Thieves is André Téchiné's followup to his unexpectedly successful 1995 art-house entry, Wild Reeds. In fact, Téchiné drew so much interest for his installment of the French TV series, All the Boys and Girls of the World, that Filmopolis Pict...

A Thin Line Between Love and Hate is muddled to the point of tedium. The screenplay is credited to four writers, and its unevenness argues that none of them were on the same wavelength. Subplots start but never finish, characters come and go...

The same questions accompany The Thing that accompany any revival of an '80s property, be it Conan the Barbarian, Fright Night, or Footloose (to name only a few of many, many candidates). First and foremost is "Why?" However, while it may seem unne...