Sx_Tape review (London Film Festival) (world premiere)
There’s no reason or logic in this found-footage yawner, and nothing rises to the level of even adolescent notions of sexy-scary.
Los Angeles
The Call review: the call is coming from inside the movie!
The familiar serial-killer flick gets a welcome shakeup, smashing to smithereens the tired trope of woman-as-victim and offering a bracing new perspective on an oft-told tale.
In a World… review: the sound of her voice
A fresh, funny slice-of-life, casually cutting in its feminism and utterly charming in its storytelling.
The Canyons review: where’s the cheese?
This pitiful would-be-sleazy melodrama is so terrible it can’t even manage to be cheesy.
This Is The End review: supergood
I died laughing… and I’ve found a new respect for a Hollywood posse whose work I mostly haven’t enjoyed before.
Gangster Squad (review)
Gangster Squad! In color! This is blustery postwar mythologizing about the violent birth of the modern metropolis, all pulpy-bright even when it’s night…
Smashed (review)
It’s the other alchoholic-gets-a-wakeup-call movie of 2012, though Smashed is a lot less flashy than Flight…
Seven Psychopaths (London Film Festival review)
Bursting with equal parts exasperation, despair, cultural criticism, and black comedy…
Argo (London Film Festival review)
I was literally in tears for parts of Argo, a purely physical reaction, not an emotional one, to deal with the tension. The only other option would have been to moan out loud, the film is almost that unbearably nerve-wracking.
End of Watch (review)
David Ayer has pulled off an all-new LAPD cop action drama with a vibrancy so electric that the screen seems to sing from the film’s opening moments, and keeps ringing long after the film ends.
