Category: Films

Film Review: “Wolf Man”

Wolf Man has a simplistic horror appeal, but is that enough?

Charlotte (Julia Garner) stares into the increasingly lupine eyes of Blake (Christopher Abbott) in ‘Wolf Man.’

From Leigh Whannell, the Australian director of Upgrade and the masterful modern-day reimagining of The Invisible Man, comes his new take on a Universal Monsters horror classic, Wolf Man. Distilling the werewolf mythos into a visceral it-all-happens-in-one-night movie, Wolf Man is efficient in its pacing and scares. However, the film lacks the emotional gravitas of a romantically strained family trying to reconnect during extreme circumstances. So, because Wolf Man clocks in at under two hours, is pleasantly ultra-predictable, and contains quality thrills, it’s a great choice for a frivolous movie night. Continue reading “Film Review: “Wolf Man””

Film Review: “The Last Showgirl”

Anderson triumphs in sobering tale of an aging showgirl

Shelly (Pamela Anderson) ponders her future after learning her Vegas showgirl gig is ending.

Demi Moore just picked up her first Golden Globe in a 45+ year career for her ferocious performance as an aging, cast-aside starlet in The Substance. That Moore, a 62-year-old former 1980s it girl herself, so deftly inhabits that character speaks to the power of an art-mirroring-life role. Now Pamela Anderson, the 57-year-old former 1990s it girl of Baywatch fame, follows in Moore’s footsteps, turning in an exceptional, unforgettable performance as an aging showgirl in the far less bloody but no less affecting The Last Showgirl.

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Film Review: “Better Man”

Once in a millennium, I recommend spending one of your lazy days watching a biopic 

Please don’t call him a CGI monkey. That’s an entirely different CGI animal than an ape. I know you really want to reference his song “Me and My Monkey,” but you’ll just make a monkey of yourself!

Biopics are hard. Music biopics are harder. Typically, both of these are my least favorite type of movie. So why was I so excited to see and review this particular movie? Because I love a new take on the formula, which this movie promised to do. I also love Robbie Williams’s music, so it seemed like a match made in movie heaven. Was it as strong a movie as expected? Continue reading “Film Review: “Better Man””

Film Feature: Chad’s Top 20 Films of 2024

It’s been an odd year for movies, partly due to the lasting effects of labor strikes. There are very few masterpieces, and just as few disasters. Instead, 2024 featured a lot of solid 3-3.5 out of 5 star films, a healthy selection of entertaining fare that enabled the theater industry to finish the year far ahead of what many analysts had feared (box office-wise). Well, without further ado, here’s my ranked Top 20 best films of 2024 (and don’t forget to check out Carrie’s Top 10 Films of 2024 as well):  Continue reading “Film Feature: Chad’s Top 20 Films of 2024”

Film Feature: Carrie’s Top 10 Films of 2024

The end of the year of course means Top 10 lists! Here are my ten favorite films of 2024 (and four honorable mentions). Oscar nominations follow in just a few weeks, on Friday,  January 17th. Stay tuned to see if Oscar voters share my thinking. And be sure to also check out fellow SP Film Critic Chad’s Top 20 list here.  In the meantime–see you back in the cinema in 2025!

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Film Review: “A Complete Unknown”

Mangold, Chalamet create a biopic worth a watch—and a listen

Bob Dylan (Timothée Chalamet) arrives in New York from Minnesota.

Writer/director James Mangold is no stranger to a music biopic. In 2006, Reese Witherspoon won a Best Actress Oscar for playing June Cash in Mangold’s Johnny Cash biopic Walk the Line. The movie garnered four other nominations, including a nomination for Joaquin Phoenix’s portrayal of Cash. Now, 18 years later, don’t be surprised if A Complete Unknown, Mangold’s dramatization of Bob Dylan’s rise to fame, yields similar awards for its exceptional cast. 

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Film Review: “Nosferatu”

Eggers takes Nosferatu for a chilling, seductive spin

Lily-Rose Depp stars as Ellen Hutter in director Robert Eggers’ NOSFERATU, a Focus Features release.

In his films, Robert Eggers (The Witch, The Lighthouse, The Northman) loves to explore ancient rituals and antiquated language. Remaking Nosferatu, director F.W. Murnau’s 1922 German silent film based on Bram Stoker’s Dracula, seemed like a perfect fit due to the story’s gothic style, devilish rituals, and old-fashioned dialect. Eggers’ Nosferatu is a darkly seductive version of the classic horror story, with enough theatricality to make it the director’s most widely accessible film to date. Continue reading “Film Review: “Nosferatu””

Film Review: “Babygirl”

Kidman and Dickinson play with power dynamics in Babygirl

In case anyone doubts her, Nicole Kidman remains one of the most talented movie stars, still working, and proves it again in Babygirl. Kidman exists among a tiny group of actors who can effortlessly disappear into their diverse set of challenging roles. Babygirl represents another winning entry in her extensive filmography, which is a monumental testament to the longevity of her acting prowess. Babygirl is writer/director Halina Reijn’s follow-up to her comedy horror sleeper hit, Bodies Bodies Bodies. On the surface, the two films have very little in common, but within their respective stories is an incisive exploration of power dynamics and modern concepts of gender roles. Continue reading “Film Review: “Babygirl””

Film Review: “Mufasa: The Lion King”

Mufasa is a princely improvement, but still no match for the original King

The 2019 photorealistic remake of the 1994 classic The Lion King was a global box office sensation, but lacked the joy, energy, and instantly-memorable character portrayals of the original. When Oscar winner Barry Jenkins (Moonlight) announced he’d be directing a follow-up to the 2019 film, the choice seemed a peculiar one for the accomplished filmmaker. Upon watching Mufasa: The Lion King, however, we can clearly see (and feel) that Jenkins cared passionately about the thematic elements of the proposed prequel. Combined with original songs by Lin-Manuel Miranda and improved character designs, Mufasa: The Lion King is a superior follow-up to the 2019 film, even if it still fails to break new ground in any meaningful way. Continue reading “Film Review: “Mufasa: The Lion King””

Film Review: “The Brutalist”

The Brutalist is a towering achievement in epic visual storytelling

Ten thousand words could be written about the surreal, dizzying shot of an upside-down Statue of Liberty in The Brutalist, Brady Corbet’s epic tale of a Hungarian immigrant’s experience in America. The Statue of Liberty sequence lasts no more than twenty seconds, yet a skewed opinion of a burgeoning nation’s dreams, hopes, and promises lie within its symbolism. The Brutalist is filled with amazing imagery like the Statue of Liberty shot, and monumental performances to match them. With The Brutalist, from its musical score to its costuming, Corbet has assembled a modern masterpiece, a staggering filmmaking achievement that weaves together the majesty and tragedy of the American Dream into a captivating and intimate story. Continue reading “Film Review: “The Brutalist””