Review: "Spider-Man: Homecoming"

by Chris Feil

It’s another go around the spider’s web again. With Spider-Man: Homecoming, the second reboot in under a decade, Peter Parker cashes in some MCU cache in attempt to regain audience enthusiasm after a string of disappointments. The good news is that director Jon Watts (Cop Car) and team have delivered a distinct revamp that may be far off from the cinematic heights of Sam Raimi’s first films, but is still one of the most entertaining. As we last saw him in Captain America: Civil War this is our youngest Spider-Man yet, and he may not be ready for his crime-fighting responsibilities yet.

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Review: The Big Sick

by Lynn Lee

Judging from its early reception, The Big Sick has all the markings of a sleeper hit.  Directed by Michael Showalter (My Name is Doris, Wet Hot American Summer: First Day of Camp) and written by comedian Kumail Nanjiani (best known to TV audiences as Dinesh on Silicon Valley) and his wife Emily Gordon, the movie’s loosely based on the stranger-than-fiction true story of how the couple overcame the dual barriers posed by his traditionalist Pakistani Muslim family and her medically induced coma.  That’s a story you couldn’t make up, or imagine mining for laughs rather than melodrama.  And yet here it is: a crowd-pleasing romantic comedy (though it’s really more of a dramedy) about a girl in a coma that’s equal parts funny and poignant without feeling the least bit exploitative.

Nanjiani plays himself, a tricky job he handles deftly, with a beguiling Zoe Kazan as the on-screen Emily, 

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Review: "The Little Hours"

by Chris Feil

A naughty nunnery run amok is the setting for The Little Hours, a medieval comedy by Jeff Baena. The film takes a passage of Boccacio’s The Decameron and gives it a verbally modernized flair: ancient notions of sin are reimagined through potty-mouthed contemporary delivery and hipster dryness. What makes for a unique (if obvious) take on stifled early-century femininity also becomes an entertaining satire on female rebellion and male stupidity.

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A Pfeiffer Portrait of Devastating Despair

by Murtada

The year of Michelle Pfeiffer continues. We’ve seen the trailer and pictures from Murder on the Orient Express. We've seen the poster for mother! (sacrilege she’s not on it). We’ve seen her on HBO as Ruth Madoff. And now her Sundance film, Where is Kyra?, made its way to Brooklyn and played at BAMCinemaFest last weekend.

Andrew Dosunmu (Mother of George) collaborates once again with Bradford Young to gorgeous results. This time Pfeiffer’s transfixing visage supplements their beautiful frames with movie star magic...

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"Rough Night" and the State of Comedy

by Eric Blume

My assignment for TFE was a review of the movie Rough Night. But since I was not raised in a barn, nor raised by wolves, my mother once told me if you can’t find something nice to say, don’t say anything at all. So we’ll keep it short on Rough Night itself.  It’s actually depressing how bad this movie is, a twist on a rather good mainstream movie called Very Bad Things, back in the Cameron Diaz days of 1998.  That Peter Berg film had a bit of an edge as it followed several guy friends on a bachelor party who find themselves in a dead hooker situation.  Rough Night is the distaff version of this tale, but the inept script, bad performances, and bland direction make it a tough sit.  The film’s five actresses (Scarlett Johansson, Kate McKinnon, Zoe Kravitz, Jillian Bell, and Ilana Glazer) are winning, talented ladies and deserved a far better vehicle.

Sitting through Rough Night your mind may wander, as did mine, to the state of mainstream comedy in the cinema these days...

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