| NOW SHOWING |
| TITLE |
RATING |
| 2 Hearts |
rate me! |
| After We Collided |
rate me! |
| Ammonite |
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| Babysitter's Guide to Monster Hunting, A |
rate me! |
| Black Book of Father Dinis, The |
rate me! |
| Bloody Hell |
rate me! |
| Borat Subsequent Moviefilm |
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| Buddy Games |
rate me! |
| Chick Fight |
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| City Hall (2020) |
rate me! |
| Climb, The |
rate me! |
| Coffee or Tea? |
rate me! |
| Come Away |
rate me! |
| Come Play |
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| Craft, The: Legacy |
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| Croods, The: A New Age |
rate me! |
| Curse of Audrey Earnshaw, The |
rate me! |
| Dark and the Wicked, The |
rate me! |
| Dreamland (2020) |
rate me! |
| Echo Boomers |
rate me! |
| Embattled |
rate me! |
| Empty Man, The |
rate me! |
| Fatman |
rate me! |
| Forgotten Carols, The |
rate me! |
| Forty-Year-Old Version, The |
rate me! |
| Freaky |
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| Greenland |
rate me! |
| Happiest Season |
rate me! |
| Honest Thief |
rate me! |
| I Am Greta |
rate me! |
| Informer, The |
rate me! |
| Jungleland |
rate me! |
| Kid Detective, The |
rate me! |
| Kindred |
rate me! |
| Last Vermeer, The |
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| Let Him Go |
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| Life Ahead, The |
rate me! |
| Love and Monsters |
rate me! |
| Mank |
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| Mortuary Collection, The |
rate me! |
| Pray: The Story of Patrick Peyton |
rate me! |
| Proxima |
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| Run (2020) |
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| Shithouse |
rate me! |
| Spell |
rate me! |
| Spontaneous |
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| Stardust (2020) |
rate me! |
| Stillwater |
rate me! |
| Synchronic |
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| Time (2020) |
rate me! |
| Totally Under Control |
rate me! |
| True to the Game 2 |
rate me! |
| Vanguard |
rate me! |
| War with Grandpa, The |
rate me! |
| Wolf of Snow Hollow, The |
rate me! |
| Yellow Rose |
rate me! |
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| LAST VERMEER, THE |
"F for Fake, or taking the mickey out of a true story"
alejandroariera says... "Days after watching producer Dan Friedkin’s directorial debut, “The Last Vermeer,” it dawned on me that there were some superficial similarities between this post World War II thriller and courtroom drama hybrid and “F for Fake,” Orson Welles’ splendid personal essay about fakes, forgeries, filmmaking and the art of illusion, particularly in its critique of how art is valued and by whom. Now, I AM giving “The Last Vermeer” far more credit than it deserves, but the film is at its best whenever one of its two leads, the legendary Dutch art forger Han van Meegeren, is on screen pontificating about art. Like Hungarian painter and forger Elmyr De Houry, one of Welles’ many subjects, van Meegeren, at least as portrayed by Guy Pearce, is a flamboyant, charming bon vivant who is sticking a middle finger at art critics and collectors and museum curators alike. Van Meegeren is, in Clifford Irving’s words when describing De Houry (and as recited by Welles in “F for Fake”) “a man of talent taking the mickey out of those who had rejected him, translating disappointment into a giant joke.” (It takes one to know one: Irving, after all, published a fake biography of Howard Hughes in the early 70s.) Welles’ questions also hang over “The Last Vermeer” as well: “Is it art? Well, how is it valued? The value depends upon opinion, opinion depends on the experts, and fakers like Elmyr makes fools of the experts…” Too bad that the script by James McGee, Mark Fergus and Hawk Ostby doesn’t trust its source material, “The Man Who Made Vermeers,” Jonathan Lopez’s biography of van Meegeren and an investigation of the network of illicit commerce that made his forgeries possible. I suspect Lopez digs deeper into some of these ideas explored by Welles and that a more faithful adaptation of the book would have made for a better, more ambitious film." (more)
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| FREAKY |
"Fun parts of its two parents, but not the crazy mashup it could have been."
Jay Seaver says... "This movie was almost certainly called "Freaky Friday the Thirteenth" at some point of it being pitched and developed, and I hope the producers reached out to Disney, Paramount, New Line, and/or the estate of Mary Rodgers in the hopes of possibly using that title, because it can't hurt to ask, right? It's fun to imagine what this would be like as a way-off-kilter entry in the franchise(s), rather than a mostly-fun riff that doesn't quite live up to its insane potential." (more)
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| WOLFWALKERS |
"Cartoon Saloon's best bit of animated Irish magic yet."
Jay Seaver says... "The pace of animated film production means that, so long as their work is staggered properly, I can probably get away with calling two or three people the best purveyors of animation out there without it looking too much like I'm being overly enthused about whatever I've seen last. Tomm Moore and the rest of the team at Cartoon Saloon in Kilkenney, Ireland are in that group, and "Wolfwalkers" may be their best movie yet, a kid-friendly adventure that hits familiar notes but never misses." (more)
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| AMMONITE |
"You can miss out on a lot by trying to be really, really sure."
Jay Seaver says... "The opening scene of "Ammonite" - a woman on her knees doing scut work being rudely brushed aside so that men can do something which involves erasing the important contribution of a woman - isn't the movie in miniature, thankfully, but that just makes one wonder why it's so prominent. The film is instead a small love story where the tension is the point, one that would probably impress a bit more if it hadn't appeared in such relatively close proximity to "Portrait of a Lady on Fire", which shares more or less the same structure." (more)
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