Category Archives: Film Reviews

Film reviews and analyses. Most recently published is in front.

Mary Poppins Returns

Warm, sometimes touching, exciting, and uneven, with a compromised central performance. Plus, oh yes, it’s got to withstand the viewer’s recollection of its superior predecessor. That’s a lot for any film to bear. Mary Poppins Returns is mostly a delight, … Continue reading

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The Inn of the Sixth Happiness (1958)

The Inn of the Sixth Happiness is one of those older, well-regarded films I’d put on my list to see “sometime.” Sometime turned out to be last night, and since I didn’t really know much about the film, many of … Continue reading

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A Star is Born (2018)

In film school, we learned that one of the most intriguing of artistic collisions is when a strong auteur director with a signature style decides to take on a genre with its own rigorous formulaic demands. The result is usually … Continue reading

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Green Book

Note: It’s been a long time since my last entry. Apologies. I’ve seen many an older, classic film, but no films in the theater. Yes, it’s been that busy. The older films I saw deserve their own entry, but an … Continue reading

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Two Prototypes: What Price Hollywood? (1932) and Stranger on the Third Floor (1940)

Prototype: a first, typical or preliminary model of something. I’ve seen a boatload of old and foreign films recently but haven’t had the time to write about them. Yet when I notice a similarity between two films that don’t seem … Continue reading

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Mission: Impossible–Fallout

For my friend Steve: Mission: Impossible—Fallout is the latest in the series that was rebooted with Tom Cruise way back in 1996, when the image of Cruise suspended above the floor grabbed the nation’s attention and helped kick-start the new … Continue reading

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Two French Classics: Lola Montès (1955) and Pépé le Moko (1937)

My new FilmStruck subscription (thank you, children) is giving me access to many older films that help fill in my cinematic gaps. Recently, I saw two French classics that couldn’t be more different from one another—Lola Montès (1955) and Pépé … Continue reading

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