Dan Mecca

There is an unbridled honesty to André Is an Idiot that is admirable, even if all of it doesn’t really work.

What one will remember from The Falling Star are small things. The way characters get into cars or attempt to fall asleep. The way they pour beer or run from gunfire. For this writer, the small things do not add up to quite enough. Yet when it’s funny, it is really funny.

Glitter & Doom feels like a beautiful, energetic half-measure.

High & Low: John Galliano feels like half a movie––plenty of questions, no answers. It’s the beginning of an intriguing conversation and not much else.

Despite some devoted performances and interesting formal choices, its endgame is rather rote. That the film is quieter and more deliberate in getting there doesn’t make it any less cliche.

Moss and McBaine do well to examine their subject from every angle. And yet, it’s not nearly enough.

Dreamin’ Wild is a kind film about kindness. While comforting in some respects, it lacks a certain amount of punch. Pohlad’s intentions are noble, and the talent of the Emerson brothers is clear enough. One can be happy it exists without fully embracing the film itself.

Ultimately, the mid-point twist begins a bridge too far for this viewer. So much of what is grounding and emotional in the first half falls away as the larger context grows more and more extreme. It all leads to a quite-exhausting third act.

Crowe is searching for something as a filmmaker. His first two features may not work as constructed, but it’s clear the themes and emotions within are important to him. There is ambition at the edges, here’s hoping the third time is the charm.

There is something admirable about the sheer hopelessness of this narrative. It’s not altogether surprising given Schrader’s imprint, but it lacks the nuances of something like First Reformed or The Card Counter.

While Memory does not fully succeed in its goals, it’s yet another reminder of Neeson’s sheer presence––a movie star if ever there were one. Watching him act against Pearce is also a brief delight.

Master is ultimately undone by its overreaching scope.

Though the overall quality of the picture may leave a bit to be desired, this documentary serves as a necessary monument to a legend who never got enough credit.

The fourth-wall breaks grow a bit tiresome and its final scene fails to build on the intensity of what comes just before, but leading turns and the topical setting prove memorable. How much you would like to be reminded of our current state of affairs is, of course, up to each and every viewer.

Despite its shortcomings, Sweet Girl is a fairly enjoyable watch. These are easy people to root for, no matter how complicated their actions get.

There is an honest bleakness to Jarecki’s tale that certainly matches the tragedy of the real-life opioid crisis, though all of it feels surface level. Without a central rooting interest that’s engaging, all of the drama suffers. There’s plenty to admire in Crisis, just not enough to recommend.

There’s a lot to admire here, even it all of it doesn’t work.

Every eye-popping sequence and strongly-performed scene feels too far from the next. Perhaps with a little less, there would be quite a bit more. There’s so much to respect in We Are Little Zombies, just not enough to hold on to.

The difficulty here, as with many a modern war film, is tone. There is an impetus to honor these soldiers while also criticizing the framework that led them into what is essentially a deathtrap in the middle of Afghanistan. Screenwriters Eric Johnson and Paul Tamasy do their damndest to thread the needle, but the results do wear a bit thin.

Colangelo is a strong director of actors, but Borenstein’s script lets her down a bit.

The biting commentary on modern business never really makes an imprint.

The story inside Official Secrets is one worth telling, but perhaps it would be better to read the book.

When Thompson and Kaling are playing off each other, Late Night sings. That so much of it is focused elsewhere feels like a miscalculation.

The subject matter is immediate and engaging. But the structure of this film is languid to the point of aggravation.

The pace picks up quite a bit in the film’s third act, working hard to wrap everything up. It’s extremely rushed and convenient, but by then Blinded By The Light will have either won or lost its viewers.

One can respect what Knight is trying at, while never fully buying into it. Despite the talent and the brazen originality, Serenity‘s reach exceeds its grasp.

Ultimately, the whole is not as great as the sum of some very effective scenes.

This is Meyers-Shyer’s directorial debut and it shows in spots. The pacing ebbs and flows a bit unevenly and plenty of jokes don’t hit as much as the filmmaking would suggest they do. That said, the casting goes a long way, as does the aforementioned production design.

The tone is playful, to be sure, but it’s hard to see past the collateral damage. Blame it on the times. Make no mistake, all of this could be forgiven if The Hitman’s Bodyguard had enough laughs. It does not.

From start to finish The Dark Tower, directed by Nikolaj Arcel from the popular book series by Stephen King, feels like something salvaged from something else. The result is a mostly entertaining piece of fantasy pulp that is a victim of trying to do too much and too little at the same time.

There are plenty of characters and there is plenty of New York City in writer/director Dustin Guy Defa‘s Person To Person, but the whole thing meanders all over without ever really settling somewhere that matters.

Forbes and Wolodarsky are clearly fascinated by this character and all of his sins, but not those he sinned against.

Moors is a filmmaker with immense talent, as demonstrated in his Sundance film Blue Caprice from a few years back, but the beats don’t quite align this time around.

Strouse wants to explore the complexities of somebody who’s chasing their dreams, mostly blind to the wreckage they might make around them, and Williams finds the layers in the character. But the message remains far more muddled than her performance.

There’s a whole lot going on throughout Live by Night. Somewhere in there is a crime film worthy of its intention.

The film, directed by Denis Villeneuve, delves into the moral fiber and traumatic tree rings of war more than most films have or most likely ever will, but without one clear vantage point or emotional anchor.

The first two — The Da Vinci Code and Angels & Demons — left much to be desired. This one emerges as a marked improvement, though that’s not saying a whole lot.

Taylor’s unremarkable thriller is not one that demands to be seen in theaters, but will undoubtedly be seen and enjoyed in that rainy Sunday afternoon kind of way. There’s some comfort in that.

This film is so unabashedly, so unflinchingly evil that it is extremely impressive and extreme unlikeable.

The only bond built is the one between Perry and Dima, two characters who are little more than pawns in the game. It’s exciting enough watching them try to negotiate their situation, but it’d be more intriguing if we knew more about the people making the decisions.

Like so many too-late sequels, the film — directed by the first film’s action choreographer Yuen Woo-ping — rides on waves of nostalgia and little else.

From start to finish, Christian Ditter‘s How To Be Single struggles to be both a forward-thinking comedy about women dating in the modern world and a reliably generic romantic comedy that will satisfy those looking for cinematic comfort food.

There’s honesty here and a swath of well-written, well-developed female characters, but not enough to justify laughing with a kidnapper.

Operation Avalanche is a solid piece of entertainment and a formal step up from their first feature. Where it lacks is in authenticity, too often feeling like an in-joke with no punchline.

Armed with two top-notch leads and a compelling premise, Joshua Marston‘s third feature, Complete Unknown, spends a lot of time hinting at which direction it will go, without going anywhere at all.

While The Kindergarten Teacher ends at the perfect moment following an extremely strong final ten minutes, it’s ultimately a muddled experience. But then maybe that’s part of the point.

If nothing else, this movie makes the case for Jason Mantzoukas, comedic leading man. His ability to find the humor in most every moment is a true gift.