crime
The Highwaymen is a well-intentioned Western drama that takes a new perspective on the Bonnie & Clyde mythology, but it needs another run at tightening the runtime.
In Video Dispatches we cover recent home video releases. This week, My Name is Julia Ross (1945), So Dark the Night (1946), and Mikey And Nicky (1976).
In the first part of Trash Caviar in which Julian Rosenthal inspects the finest of trash, he recalls Nicolas Cage’s off-the-wall character in Bad Lieutenant: Port of Call New Orleans.
Holiday will linger with you long after the credits roll, forcing you to acknowledge the ways in which you are complicit with the behavior of its characters.
Many will enjoy watching Gina Rodriguez in a silky red dress armed with an AR-15 – she hits what she is aiming at, but Miss Bala misses its mark.
Lost Holiday illustrates our inescapable desire for the days when irresponsible behavior was met with laughter and a slap on the wrist, but what happens when that responsibility is willfully ignored.
I Am the Night is a thrill ride that not only tells Fauna Hodel’s incredible story, but also pays homage to the LA noirs of the past.
Backtrace is too ridiculous and underwritten to be a full-fledged crime thriller and too self-serious to be an enjoyable B-movie.
The Pinch is occasionally funny, occasionally violent, and occasionally surprising, which makes for a just about passable watch.
Already considered by many as the worst film of all time, Holmes & Watson is likely to make even the least demanding cinema-goers feel as if they’ve had their intelligence insulted.
While not quite as offensive as Gotti, Speed Kills is just as disposable, with Travolta yet again starring in an incompetent and unimaginative feature.
It’s been ten years since massive AMC hit Breaking Bad took to the screens and masterminded its way into television history, and it hasn’t begun to lose its luster yet.
The Mule is a worthy callback to Clint Eastwood’s career, playing a 90-year-old drug mule that hopes to make up for his past shortcomings.
Kidman and Kusama work impeccably together in Destroyer to create an anti-heroine who can shoulder the weight of a familiar genre while rarely giving in to easy tropes.
The charisma of Macaulay Culkin matched with the intelligent script by John Hughes makes Home Alone the definitive holiday story that it is, appealing to all ages.