“The Kitchen” is about three women who can handle the heat and still want out of the kitchen. They want to move into The Kitchen, as in Hell’s Kitchen, that peculiar slice of Manhattan in the 40s and 50s stretching from 8thAvenue west.
After all, Quentin Tarantino calls his newest film “Once Upon a Time… in Hollywood” which is, of course, not only an homage to Sergio Leone (“Once Upon a Time in the West,” Once Upon a Time in America”), but also the traditional way to start a fairy tale.
“The Fall of the American Empire” does only one thing well: fall apart.
Gracelessly. Stupidly. And without a shred of self-awareness.
The Canadian director Denys Arcand, who may be one of the most pompous and annoying filmmakers in the northern hemisphere, has concocted a cretinous crime caper that seems strung together from bits and pieces of every ‘70s cop show ever made.
I didn’t think I would. I’d seen the trailers and it sounded like a clever but one-gimmick movie. However, while it doesn’t do everything right, “Yesterday” sometimes takes your breath away. Not bad for a mid-summer non-superhero movie
Indeed, the dead don’t die in Jim Jarmusch’s aptly-titled, “The Dead Don’t Die.”
Neither does the director’s trademark deadpan, which has somehow managed to keep him afloat with movie cultists since his debut movie, “Stranger Than Paradise,” which premiered at the New York Film Festival in 1984.
“The Souvenir” is a portrait of the artist as a young doormat.Set in London in the ‘80s (i.e., no computers, cellphones, but the occasional IRA attack at Harrods), the movie features Tilda Swinton, looking as close to ordinary as you’ve ever seen her, and her real-life daughter, Honor Swinton Byrne, here cast as her movie daughter, Julie.
Going in, you already know that last year’s unexpected hit, “Bohemian Rhapsody,” would be either the best thing or the worst thing to happen to “Rocketman,” the new Elton John movie.The parallels are so strong: similar time frames, similar problems (being gay in a pre-woke world), similar storylines (success is more likely to bring cocaine than happiness).
Imagine Shakespeare, not in love, but up to his ears in inducements from AARP.That’s the framework, more or less, for Kenneth Branagh’s “All Is True,” a look at the Bard in retirement.The year is 1613. His beloved Globe Theatre has burned to the ground and the playwright takes that as a sign it’s time to move back to the country and retire in the…um…loving?…bosom of his family.
“The White Crow” is so-so which, given what it’s trying to do, is almost a rave. Some geniuses seem replicable on film. I’ve bought versions of Orson Welles, Marilyn Monroe. And Elvis. But I’m not so sure how I’d do with a Brando or a Hepburn (Katharine or Audrey). Or a Rudolph Nureyev.
A much better title for the squishily disappointing new bio-flick, “Tolkien” would be “Bored of the Rings.”Oh, how I wish I’d made that up myself, but it’s stolen from a National Lampoon parody that came out around 1970 when the author’s “The Lord of the Rings” trilogy was at the height of its popularity on college campuses.
“The Chaperone” is a rigged shell game. It lures you in with Louise Brooks, the charismatic silent-film legend best known for “Pandora’s Box,” and proceeds to tell you this tedious fictional tale about the woman who accompanied Brooks from Wichita to New York where the incipient Ultimate Jazz Baby found – what else? –fame and fortune.At least the movie can claim truth in advertising. It is, after all, called “The Chaperone.”
“The Aftermath” is the sort of movie about which somebody will inevitably write, “They don’t make ‘em like this anymore.”“The Aftermath” is a good reason why.Tepid, obvious, uninvolving, “The Aftermath” proves that, yes, in the shadow of World War II, the problems of three little people don’t amount to a hill of beans unless, they’re named Humphrey Bogart, Ingrid Bergman and Paul Heinreid and they’re hanging out in Casablanca.
In a way “The Best of Enemies” could be likened to a made-for-TV version of “The Green Book.” But even if that’s meant as a compliment from a flat-out fan of the recent Oscar winner (which I am), it’s still a bit demeaning. Though the movies share a Civil Rights theme and a first-they-bicker-then-they bond plot, “The Best of Enemies” has its own distinct voice. That’s due, for the most part, to its pair of high-powered stars, Taraji P. Henson and Sam Rockwell.