Nichols knew how to hold my attention, Wrinkles the Clown a celebration of petrifying delights that had my guts twisted into unbreakable knots.
Joker wasn’t for me, and even if I were to dance with the devil in the pale moonlight and have a sudden desire to watch the world burn that still doesn’t mean I see my opinion changing anytime soon.
The Death of Dick Long gallops to the finish line with authoritative tenacity, its final moments hitting me like a swift kick to the head from a startled horse I’d made the unfortunate mistake to frighten.
Abominable is as entertaining an animated feature as I’ve seen this year, audiences of all ages almost certain to thrill to its avalanche of pleasures for many years to come.
Begos’ maturation as a filmmaker is undeniable, and I love that he’s centered Bliss in such an introspectively human way. He finds a kindred spirit in Dezzy, and as despicable and abhorrent as her tale might be, the young woman’s act of artistic creation is one that feels strangely universal even with all the dismemberments, rips of flesh and gushes of blood.
There’s nothing peaceful or calm about Donnybrook, the darkness Tim Sutton’s film so intimately explores overflowing in a profound sadness that only grows in resonance as events build to their lethally tragic conclusion.
Outside of its Academy Award-nominated theme song (beautifully sung by Lionel Richie and Diana Ross), I will never understand the enduring appeal of 1981’s Endless Love. It is an anemic adaptation of Scott Spencer’s novel, and in my opinion is arguably the worst motion picture the great Franco Zeffirelli ever directed.
I Trapped the Devil isn’t going to end up on my end-of-year list of 2019’s best horror movies, but that doesn’t make it any less memorable or worthwhile. Writer/director Josh Lobo manufactures a consistently unsettling sense of building menace and dread, while actress Susan Burke delivers an outstanding performance in the middle of all of this discombobulating psychological mayhem.
Vice Squad is a product of its time. It’s an ugly film, one that digs into the muck and mire of the world it presents with almost gleeful gusto. All of which makes it easy to understand how Gary Sherman’s dramatic thriller has somehow stood the test of time.