Review: "Nightmare Alley" only in theaters

by Matt St Clair

Nightmare Alley, Guillermo del Toro’s anticipated follow-up to The Shape of Water, is quite a risk for the Oscar-winning auteur. Del Toro ditches the phantasmic monsters he’s known for in favor of human monstrosity, the beasts within all of us that drive our carnal needs. As with the original 1947 noir, Nightmare Alley is an exemplary exercise on the folly of man and what happens when the line between man and beast becomes blurred. 

The main anti-hero who toes that line is Stan Carlisle (Bradley Cooper), a carny with a knack for manipulating people. His subjects include fellow carny and eventual love interest/accomplice Molly Cahill (Rooney Mara), Paul Krumbein (David Strathairn) and his fortune teller wife Zeena (Toni Collette), and a wealthy fearsome widower Ezra Grindle (Richard Jenkins). Cooper's piercing eyes and bewildering smile make him a perfect casting fit for the manipulative con man. He is a man of few words which is just as well; the words when they come are lies and deceit. It is in Cooper’s expressive face where we see Stan’s constant fear of his troubled past resurfacing...

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Streaming Review: Sandra Bullock in "Unforgivable"

Please welcome new contributor Catherine Springer

Sandra Bullock has something to prove. No matter how beloved she may be as a performer, she’s never really been taken seriously as a dramatic actress. Her Best Actress Oscar win for The Blind Side (2009) is widely considered to be one of the weakest, as many feel she won more as a nod to her popularity and successful career than for the performance itself. Bullock has always had a healthy perspective on herself and her career, and has taken all the criticism in stride. And yet, there must be a place deep inside that wants to prove to the world that she deserves her Oscar, and that she is so much more than the funny, affable girl next door. 

Bullock’s starring role in Alfonso Cuaron’s Gravity (2013) went some of the way to proving she is more than the feel-good funny girl. But the question still remained: can Sandra Bullock deliver in a dramatic role, with no CGI or alien buffers? She's never truly played an unlikeable character, either. Can she change her brand this late in her career, and prove she can deliver in a serious and not loveable role?

The new Netflix film, The Unforgivable, proves the answer is an unequivocal yes. Unfortunately, few may hear that answer because anything she’s doing in this film that’s right is offset by everything else that is so, so wrong...

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Review: "Being the Ricardos"

By Ben Miller

Writer/director Aaron Sorkin is no stranger to historical drama and Being the Ricardos adds to the list.  With a deft ensemble and a dynamite lead performance from Nicole Kidman, the film will be an enjoyable time for fans of I Love Lucy and Sorkin fans alike.  Fair warning though: If Sorkin isn't your cup of tea, this film can be hard to swallow.

Lucille Ball (Kidman) is at the height of her powers. Alongside her husband and co-star Desi Arnaz (Javier Bardem), their sitcom I Love Lucy is the most popular show on television.  But in 1953, Senator Joseph McCarthy was on the hunt for Communists within the United States.  Word gets out among the CBS executives that Ball was interviewed by his committee. Ball and Arnaz begin to question the viability of the show if this information became public...

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Quickies to Catch Up: West Side Story, Don't Look Up, Nightmare Alley, House of Gucci

by Nathaniel R

It's that time of year when it is literally impossible to keep up. Most weeks have one maybe two if we're lucky films of interest opening. But in December it's like 10 high profile movies per week or something outrageous. So much can get lost in the shuffle which is always sad.

Here are some quick thoughts on four recent high profile screenings though we'll do full reviews when they open...

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A "Wolf" in Men's Clothing

by Jason Adams

There is an unfinished quality to the actor George Mackay's face, as if he's a first-draft in putty, not quite defined into full features yet. That quality makes him a perfect fit for Wolf, writer-director Nathalie Biancheri's new film about a young man who believes himself to actually be, under all that pretty pink skin, a you-guessed-it wolf. Mackay naturally seems permanently half fixed, like he's trapped in the middle part in a werewolf  transformation montage -- his impermanence putting this character's indeterminate selfhood right there written over his taut cheekbones.

I wish the rest of Wolf, which sees Mackay's character of Jacob shuffled off to a mad doctor's experimental psychological retreat/prison for, you know, "his own good," worked as well as Mackay does...

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