Movie Reviews Only

Rating T-Meter Title | Year Review
No Score Yet The Last Man (2019) The premise is effectively eerie; the presentation depressingly sloppy.‐ Los Angeles Times
Read More | Posted Jan 16, 2019
No Score Yet Split Lip (2019) [A] film that's generally likable but ultimately too slight and derivative to recommend.‐ Los Angeles Times
Read More | Posted Jan 16, 2019
No Score Yet The Brawler (2019) "The Brawler" isn't terrible, but those with any interest at all in Chuck Wepner should start with one of the many better options.‐ Los Angeles Times
Read More | Posted Jan 16, 2019
57% Close (2019) "Close" works well when it sticks to the distinctive personal details of this kind of job; but it too often defaults to a run-of-the-mill international thriller.‐ Los Angeles Times
Read More | Posted Jan 16, 2019
76% Pledge (2019) The characters and premise of "Pledge" are over-the-top, but the movie understands that - whether comedy or horror - all these stories are really about a desperate yearning for belonging.‐ Los Angeles Times
Read More | Posted Jan 16, 2019
85% Rust Creek (2019) Director Jen McGowan and screenwriter Julie Lipson take too leisurely of an approach to a story that should be more taut, but the attention they pay to characters and setting makes a difference in how the movie plays out.‐ Los Angeles Times
Read More | Posted Jan 10, 2019
No Score Yet Alone in the Dead of Night (2019) The meager plot strains for relevance; but Tammie Bergholdt is very good as a single woman tormented by her own fears, and the Castanos show a knack for maximizing the minimal.‐ Los Angeles Times
Read More | Posted Jan 10, 2019
No Score Yet Tall Tales from the Magical Garden of Antoon Krings (Drôles de petites bêtes) (2019) Even the preschool-aged fans of French picture-book writer-illustrator Antoon Krings will likely be bored by "Tall Tales," a funny-animal movie with a convoluted plot.‐ Los Angeles Times
Read More | Posted Jan 10, 2019
56% Ashes in the Snow (2019) Markevicius and Jones find meaning in the small moments of humanity within the horrors of war - those times when the oppressed and even the oppressors get a chance, just for a little while, to be people.‐ Los Angeles Times
Read More | Posted Jan 10, 2019
No Score Yet Against the Clock (2019) [W]hile this movie is pretty incomprehensible, it's at least memorable.‐ Los Angeles Times
Read More | Posted Jan 10, 2019
No Score Yet Mojin: The Worm Valley (2019) It's more a hodgepodge of second-hand chase scenes and spectacle, borrowed from better action-adventure pictures.‐ Los Angeles Times
Read More | Posted Jan 3, 2019
83% The Vanishing (2019) There's just something about lighthouses that inspires good psychodrama.‐ Los Angeles Times
Read More | Posted Jan 3, 2019
39% State Like Sleep (2019) Dunluck over-complicates this muted slice-of-life, but a good cast mostly holds it together.‐ Los Angeles Times
Read More | Posted Jan 3, 2019
9% Holmes and Watson (2018) "Holmes & Watson" is more of a well-meaning misfire than a total train wreck. It's frustrating mainly because all of these folks can do much better. They can be a lot Daffier.‐ Los Angeles Times
Read More | Posted Dec 26, 2018
67% Swing Kids (2018) Though a bit longer than necessary, the movie tells an engaging, enjoyable story, peppered with impressive dance numbers.‐ Los Angeles Times
Read More | Posted Dec 20, 2018
33% Between Worlds (2018) Writer-director Maria Pulera aims for something with the comic grotesquerie of David Lynch - full of eccentric lowlifes and identity swapping - but a more straightforward plot. What she ends up with is ultimately too tame and under-thought.‐ Los Angeles Times
Read More | Posted Dec 20, 2018
6% American Renegades (2018) Quale and his crew clearly want this to be a good old-fashioned two-fisted caper, but the pacing is leaden and the plot lacks imagination. Worst of all, nobody really bothered to give the picture an angle. It's all straight, flat and dull.‐ Los Angeles Times
Read More | Posted Dec 20, 2018
35% Dead in a Week (Or Your Money Back) (2018) "Dead in a Week" strains too hard to find the lighter side of professional murder - like a Coen brothers version of "John Wick," but without the inspired touch of either.‐ Los Angeles Times
Read More | Posted Nov 29, 2018
40% Blood Brother (2018) "Blood Brother" is just a compendium of pulp clichés, with nothing to say about these characters or the worlds they inhabit.‐ Los Angeles Times
Read More | Posted Nov 29, 2018
67% Default (Gukgabudo-ui Nal) (2018) "Default" successfully turns a global financial crisis into a movie that's at once engaging and educational.‐ Los Angeles Times
Read More | Posted Nov 29, 2018
89% Ghostbox Cowboy (2018) The movie is unique, and often off-putting, in ways that should be exciting to open-minded cinephiles.‐ Los Angeles Times
Read More | Posted Nov 29, 2018
50% DriverX (2018) Drawn from the filmmaker's own experiences, "DriverX" is a collection of hit-and-miss anecdotes, organized around the idea of what "work" means in the 21st century.‐ Los Angeles Times
Read More | Posted Nov 29, 2018
No Score Yet 8 Remains (2018) It's hard to say exactly what's going on in "8 Remains," an offbeat suspense picture that has more in common with vintage European art cinema than Alfred Hitchcock - although quality-wise, it's not up to the level of either.‐ Los Angeles Times
Read More | Posted Nov 21, 2018
No Score Yet 12 Round Gun (2018) Well-made, but uninspired, the film is too enamored of "sensitive macho man" clichés.‐ Los Angeles Times
Read More | Posted Nov 21, 2018
No Score Yet Texas Cotton (2018) The cast of "Texas Cotton" is good company, and the location's a nice place to hang out for an hour and a half. But all these nice folks are worthy of more than such a flat, featureless story.‐ Los Angeles Times
Read More | Posted Nov 21, 2018
No Score Yet Tinker' (2018) By the time the "Tinker" fantasy elements kick in, they seem more like an afterthought than the reason this movie was made in the first place.‐ Los Angeles Times
Read More | Posted Nov 21, 2018
No Score Yet Astral (2018) "Astral" gives fans of American cable TV dramas a chance to hear some familiar actors speak in their natural English accents. Beyond that, this high-toned genre exercise is low on novelty - not to mention jolts.‐ Los Angeles Times
Read More | Posted Nov 21, 2018
90% Widows (2018) Like McQueen's Oscar-winning 12 Years a Slave, what stands out most about Widows is how the director takes a story that's often violent and despairing - and focused on social inequities - and makes it downright exhilarating.‐ Nashville Scene
Read More | Posted Nov 15, 2018
0% Speed Kills (2018) A featureless knockoff of seemingly every sweeping true-crime movie of the past three decades.‐ Los Angeles Times
Read More | Posted Nov 14, 2018
14% Welcome Home (2018) Strong lead performances by Aaron Paul and Emily Ratajkowski are squandered in "Welcome Home," a low-tension suspense picture with pretensions of saying something profound about broken relationships.‐ Los Angeles Times
Read More | Posted Nov 14, 2018
94% CAM (2018) An at-times too-elusive but overall engaging peek behind the curtain at the lives of "cam girls."‐ Los Angeles Times
Read More | Posted Nov 14, 2018
58% Mobile Homes (2018) But while the story's a little shaky, Poots is outstanding; and de Fontenay has a terrific eye for the details of a drifter's life.‐ Los Angeles Times
Read More | Posted Nov 14, 2018
74% The Clovehitch Killer (2018) First-time feature director Duncan Skiles brings some spooky atmosphere to a smart script by Christopher Ford.‐ Los Angeles Times
Read More | Posted Nov 14, 2018
19% Here and Now (Blue Night) (2018) "Here and Now" uses one woman's sudden awareness of her own mortality as an excuse to focus intently on the many moments of intense emotion that make up a day in the big city.‐ Los Angeles Times
Read More | Posted Nov 9, 2018
22% River Runs Red (2018) The entertainment value's low in this pointed crime thriller, which saves its action sequences until right before the closing credits.‐ Los Angeles Times
Read More | Posted Nov 8, 2018
64% In a Relationship (2018) There's just not enough that's new here - either in what's being said, or how.‐ Los Angeles Times
Read More | Posted Nov 8, 2018
50% Pimp (2018) "Pimp" is too one-note and grinds its way somewhat drearily to an inevitably bloody conclusion.‐ Los Angeles Times
Read More | Posted Nov 8, 2018
No Score Yet Time Freak (2018) A whimsical rom-com that's a little bit "Hot Tub Time Machine," and a little bit "Eternal Sunshine of the Spotless Mind."‐ Los Angeles Times
Read More | Posted Nov 8, 2018
88% Prospect (2018) The film balances genre thrills with a detailed depiction of prospecting on an alien world, created via a mix of practical locations (shot in a damp Northwestern forest) and some psychedelic digital backdrops.‐ Los Angeles Times
Read More | Posted Nov 5, 2018
75% Monster Party (2018) Von Hoffman brings some admirable oomph, as well as a good understanding of the many ways that criminals - both poor and rich - exert dominance.‐ Los Angeles Times
Read More | Posted Nov 2, 2018
83% Daughters of the Sexual Revolution: The Untold Story of the Dallas Cowboys Cheerleaders (2018) Mostly, this is a whirlwind trip through the origins of a phenomenon, with an eye toward explaining how America could find these ladies at once sexy and wholesome.‐ Los Angeles Times
Read More | Posted Nov 2, 2018
67% Welcome to Mercy (2018) The movie's too slow at the start and somewhat befuddling at the end, but for the most part it's a haunting, poignant portrait of one woman's Kafkaesque nightmare.‐ Los Angeles Times
Read More | Posted Nov 2, 2018
90% The Dark (2018) When "The Dark" clicks (which is often), it's a moving and poetic tale about how neglect and abuse can turn people into freaky beasts, and how love can bring them back.‐ Los Angeles Times
Read More | Posted Oct 26, 2018
No Score Yet Killer Kate! (2018) While writer-director Elliot Feld and his co-writer/producer Daniel Moya miss the mark most of the time, that little bit of effort gives the movie some scrappy underdog charm.‐ Los Angeles Times
Read More | Posted Oct 26, 2018
75% The Fog (1980) Ultimately, it's a John Carpenter movie: concerned with group dynamics, unhelpful authority figures, strong women, the sins of the past, and that moment when helpless isolation shades into outright terror.‐ Los Angeles Times
Read More | Posted Oct 24, 2018
44% Don't Go (2018) This picture needs less moping and more spooking.‐ Los Angeles Times
Read More | Posted Oct 23, 2018
100% Emmet Otter's Jug-Band Christmas (1977) The kind of Christmas special you could wrap in tissue when the season's over and store carefully in a box in the attic.‐ AV Club
Read More | Posted Oct 23, 2018
40% The Super (2018) Even bad horror movies can have their pleasures, and here it's Kilmer who gives "The Super" a kick.‐ Los Angeles Times
Read More | Posted Oct 18, 2018
40% High Voltage (2018) Clumsy and corny, the film plays like a pat showbiz cautionary tale, half-heartedly reworked into lurid pulp.‐ Los Angeles Times
Read More | Posted Oct 18, 2018
73% Galveston (2018) A muted crime drama that runs out of plot too soon, but makes up for it with powerhouse performances and a finely shaded sense of place.‐ Los Angeles Times
Read More | Posted Oct 18, 2018