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| EFC STATS |
| Movies Listed: |
32458 |
| Total Ratings: |
249370 |
| Total Reviews: |
28778 |
![[199460832 Hits]](/cgi-bin/gd.cgi?199460832)
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| NEWS OF THE WORLD |
"Good ol' Hanks scores again."
Rob Gonsalves says... "“We’re all hurting. These are difficult times,” says Captain Jefferson Kyle Kidd (Tom Hanks) to a packed crowd in 'News of the World.' The year is 1870, not 2020, but the words ring accidentally true for us." (more)
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| PROMISING YOUNG WOMAN |
"Promising movie, too."
Rob Gonsalves says... "The gut tension starts early in Emerald Fennell’s debut feature 'Promising Young Woman.'" (more)
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| WONDER WOMAN 1984 |
"Overstuffed, ambitious, a lot of fun."
Rob Gonsalves says... "Kristen Wiig is raring to give a classic large-scale performance in 'Wonder Woman 1984.'" (more)
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| MANK |
"Bleh."
Rob Gonsalves says... "David Fincher’s 'Mank' is a real Christmas-tree ball — shiny as hell and just as empty." (more)
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| MLK/FBI |
"Keeping tabs on a good man"
alejandroariera says... "If you still find it hard to believe that a significant number of Americans approve of the storming of the Capitol building by supporters of President Trump as the Congress began the process of certifying the votes from the Electoral Colleges, then consider the following: at the height of the Civil War movement more Americans trusted and believed J. Edgar Hoover, even considered him a hero, than Martin Luther King, Jr. Hoover, like Trump after him, was a master media manipulator. He presented himself as “the guardian of the American way of life,” and the entertainment industry was his willing accomplices, pumping out such propagandistic malarkey as “G-Men” (1935) and “I Was a Communist for the F.B.I.” (1951), and the TV series “The FBI” which ran for nine seasons (1965-74). And what was that American way of life Mr. Hoover wanted to safeguard? Why, a mostly white American way of life where minorities “knew their place.” Nothing scared him more than the arrival of a Black Messiah. Nothing scared him more than Martin Luther King, Jr." (more)
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| LOCKED DOWN |
"West End Promises"
Peter Sobczynski says... "The last couple of months have seen the first trickles of what is sure to be a deluge of films inspired by or dealing explicitly with the ongoing Covid-19 pandemic, including the surprise “Borat” sequel, the gross exploitation exercise “Songbird” and such instant documentaries as “Totally Under Control” and “76 Days.” Now comes “Locked Down,” a project which was filmed in a couple of weeks in secrecy, and which boasts a number of familiar names on both sides of he camera and the intriguing premise of the pandemic restrictions being used as the catalyst for a high-stakes heist. The project may have been conceived in haste and may not necessarily stand the test of time but the end result is an offbeat comedy-drama that may understandably lack the visceral thrills that one might expect from a heist-related film but which does a surprisingly effective job of capturing the strange rhythms of life and love in the time of Covid." (more)
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| SHADOW IN THE CLOUD |
"Making The Illogical Logical"
Peter Sobczynski says... "“Shadow in the Cloud” is a movie that is so completely nutso that one doesn’t watch it so much as stare at it in slack-jawed wonder as it starts off at a near-fever pitch and somehow manages to go even further over the course of its 83-minute running time. It is the kind of film where describing it as “frothing mad” is not so much a criticism as it is a simple observation. After a couple of months of staid, serious-minded examples of Oscar bait, here is a film that is so relentlessly wild and over-the-top that you spend the first half astounded that such a thing could have ever gotten produced in the first place and the second half astounded that it is working as well as it does." (more)
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| SYLVIE'S LOVE |
"There’s Always Tomorrow."
Peter Sobczynski says... "Even in a cinematic period made topsy-turvy by the global pandemic, the last few weeks have offered up such a glut of titles jockeying for the various end-of-year awards and whatnot that some perfectly good movies run the risk of falling through the cracks. One such film is “Sylvie’s Love,” writer-director Eugene Ashe’s period drama charting the on-and-off relationship between a pair of star-crossed lovers that is admittedly uneven, awkward and oftentimes contrived beyond belief but which contains enough other moments of sheer cinematic bliss to let viewers—at least the more romantic ones—forgive most of its flaws." (more)
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'BONNIE AND CLYDE DIDN'T WORK ALONE. THELMA AND LOUISE DIDN'T WORK ALONE. AND THEY WERE THE BEST.'
- Mathilda, The Professional
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