Tragically titillating expose on the minimal life of Marilyn Monroe (Norma Jean Mortenson, (1926-1962) directed by Andrew Dominik based on Joyce Carol Oats 2000 fictionalized version of her doomed ephemerality. Unfortunately, there are no surprising insights, just predictable salaciousness: a menage trois (Edward G. Robinson Jr. (Evan Williams) and Charlie Chaplin, Jr. (Xavier Samuel); an abusive thug, Jo DiMaggio (Bobby ... Read More »
THE WOMAN KING This film screams with integrity, majesty and feminine mettle; a tour de force for Viola Davis, a marvelous warrior “Nanisca”, who does not suffer fools, is the focus of a film that should be visited by all. Referencing the forgotten history of Amazon Warrior Women, immortalized in Homer’s “The Iliad” they starred in their own battles and ... Read More »
THE PATIENT (Hulu) Abashedly, a friend and I walked out of 2005’s “40-Year-Old Virgin” with no regrets, never revisited it; also ignored “The Office”; it wasn’t until “Foxcatcher” (2014) followed by “The Big Short” (2015) and “Beautiful Boy” (2018) that I awakened to the stimulating fact that Steve Carell was so much more than a funny man; incubating beneath a ... Read More »
“BULLET TRAIN” (in theatres) It has been a rather thin, squishy summer of film; a myriad of mediocrity unworthy of brain waves, exceptions: “Top Gun”, “Official Competition”, “Hallelujah”, “Vengeance” and the recently reviewed “The Good Boss”. To shun ennui, I visited “Bullet Train” (Brad Pitt the primary draw); superciliousness on steroids but for some inexplainable rationale I found myself enjoying, ... Read More »
Javiar Bardem scorches as “The Good Boss”, (“Julio Blanco”) a multifaceted, charismatic, childless owner of Blanco Scales; which tops the “scales” in satire, subtlety, metaphorical subterfuge; director/writer Leon de Aranoa’s intricately, prodigiously carved slice of comedic mockery, secures its place as one of the best films of 2022. Bardem’s compelling, masterly depiction of a man who has convinced his employees ... Read More »
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