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Few working directors display the versatility of Richard Linklater. Equally comfortable making high-concept art films, experimental outings designed for mass consumption, and multiplex-friendly fare, Linklater has brought to the screen projects as...

While watching Horse Girl, which is either a whacked-out science fiction film or an exploration of mental illness (my money is on the latter), two other titles came to mind: Kristin Wiig’s Welcome to Me and Darren Aaronofsky’s mindfuck, mo...

Ironically, I’m sure, the title of this movie identifies the single most obvious problem. Certainly, there’s nothing wrong with how it begins. In fact, the first 20 minutes or so of How It Ends are solid, filled as they are with mystery and...

If there’s one thing I have learned about Charlie Kaufman over the years, it’s that he’s a much better screenwriter than director. Collaborating with the likes of Spike Jonze (Being John Malkovich) and Michel Gondry (Eternal Sunshine of ...

The Ice Road may be the worst direct-to-Netflix movie to feature a major star. It may also offer the worst entry into Liam Neeson’s catalog of strong, resilient action heroes. It’s not hard to understand the potential in the premise but it...

With the freedom offered to him by Netflix, Martin Scorsese has crafted a narratively complex, visually arresting account of mob hitman Frank Sheeran (Robert De Niro) and, in the process, reunited with some old friends and brought new ones to ...

The Killer is pure David Fincher – moody, atmospheric, gloomy, and suffused with a thread of dark, sardonic humor. Despite the lack of dialogue, there’s a lot of talking. The film uses a running internal monologue to take the viewer into t...

Kodachrome is proof of the concept that solid direction and superlative acting can transform even a mediocre script into something worth watching. At its heart, Kodachrome is a middling road picture – a film whose every plot point is predict...

The nature of D.H. Lawrence’s novel, Lady Chatterley’s Lover, lends itself equally to high-brow adaptations and soft-core porn. The best-known example of the latter was a 1981 production starring Sylvia “Emmanuelle” Kristel. Those looking ...

The difficulty with making a thriller based on actual events is that aspects of the film are often at cross-purposes. There’s a little of this going on in Eduardo Mendoza’s 2017 feature, The Last Hour, but, on balance, the historical elemen...