It’s an unenviable task to have to take over the reins of a franchise from J.J. Abrams, the creative wunderkind who helmed “The Force Awakens,” but Rian Johnson proves more than game to go where Abrams has taken this trilogy and beyond.
The problem with “Wonder Wheel,” which bears the indelible imprint of a Tennessee Williams drama, ultimately becomes its endless rotation of self-loathing, self-interested and shortsighted characters, wanting without doing. It’s not a good way to endear.
Guillermo del Toro returns to fine form with this fairy tale-cum-horror story that effectively echoes the texture, mood and style of his 2006 gem, “Pan’s Labyrinth” with a fine performance by Sally Hawkins that should be recognized.
With “Coco,” the animators at Pixar have brought their warmth and character-grounded spectacle to the undead with a fervor that far outweighs many of the studio’s previous masterpieces.
For all the weighty topics it covers and ideas of the good and evil that lie within all of us, even the most noble, the greatest fault of “Roman J. Israel, Esq.” is how unfathomably safe it is.
“God’s Own Country” is unexpected in its charm and deliberate in the way it ultimately captures your heart with characters and locations that feel just tangible enough without stripping them of that movie-magic sheen.
Yes, we’ve been here before, but the writers mine a rich potpourri of personalities for all they’re worth and director Zach Snyder has finally learned how to fit a lot into a neat two hours – even if audiences will still be left wanting a villain worthy of this stacked team.
Martin McDonagh is a playwright well studied in the matters of suffering and the harsh truths of reality. Rife with tension, his cinematic “Three Billboards Outside Ebbing, Missouri” feels like a bomb about to go off, and at one point it does.
Mumblecore queen Greta Gerwig gets behind the lens for this semi-autobiographical reflection about a girl coming of age in Sacramento in the early 2000s, making some provocative (and questionable) choices along the way.
The film community in Cambridge and Boston dimmed Monday when Harvard Film Archive programmer David Pendleton, 52, passed away after a long battle with cancer.