THE BANSHEES OF INISHERIN is last year’s best picture nominated movie from writer/director Martin McDonagh, and I think my favorite from him so far. (The other best is his debut IN BRUGES, and he also did SEVEN PSYCHOPATHS and THREE BILLBOARDS OUTSIDE EBBING, MISSOURI). This one is set in 1923 in a small island village of Ireland, and concerns the simple topic of two old friends after one of them decides they shouldn’t have any contact with each other anymore. It’s not in response to some specific action, it’s a decision to redirect his life, and a rejection of the value of spending any time with this other person. It’s a sad movie and also a really funny one. Since it didn’t make me cry, despite my middle age status as an easy crier, I say it’s more funny than sad. You may disagree.
The rejected party is Pádraic Súilleabháin (Colin Farrell, DEAD MAN DOWN), who opens the movie in comical obliviousness, walking into town saying hello to everybody he passes like it’s a damn Disney movie. There’s even a rainbow. But when he knocks on Colm (Brendan Gleeson, TURBULENCE)’s window Colm won’t acknowledge him, and later at the pub won’t sit with or talk to him. And after some pushing Colm tells him the friendship is over. (read the rest of this shit…)
When I first encountered the trailer for INFINITY POOL I spotted Mia Goth, who gave one of my favorite performances last year in 
WOMEN TALKING is the new best picture nominated film from writer/director Sarah Polley, who is minor-key beloved as an actress for people around my age (THE ADVENTURES OF BARON MUNCHAUSEN, GO, 
I guess time flies, because I’ve kind of wanted to see GEOSTORM since it came out, and I didn’t realize that was more than five years ago. It’s the theatrical feature directing debut of Dean Devlin, former writing/producing partner of Roland Emmerich. Devlin wrote the script with Paul Guyot (two season 2 episodes of something called “Felicity”; also Chow Yun Fat’s assistant on 
There’s a surprising amount of shitting, pissing, and puking in BABYLON, the bawdy fictionalized-early-Hollywood period comedy-drama from writer/director Damien Chazelle (writer of THE LAST EXORCISM PART II). It opens with hard-working studio assistant Manny Torres (Diego Calva, Narcos: Mexico) trying to impress his bosses by helping organize a crazy mansion party/orgy, and he has to figure out how the fuck to get a rented elephant up a hill. While pushing the way-too-small truck, the elephant gets spooked, and the wrangler (Jimmy Ortega, “Sicario #1,” 
Aubrey Plaza is funny. I first saw her in 
STEP UP: YEAR OF THE DANCE (a.k.a. STEP UP CHINA) is a Chinese production developed by Lionsgate as an official entry in the STEP UP franchise, though it’s not connected by any characters. It was released in China in 2019 and apparently here (digital only) in 2020, but I didn’t find out until recently. I watched the English-dubbed version that’s on Tubi because I wasn’t sure if the VOD release would be different. (That’s not the ideal way to watch it, I imagine, but I got over it.)
You know me – I’ve always been fascinated with DTV sequels. One of their endearing qualities is that their modest budgets allow for a different type of crass commercialism than regular Hollywood – they try to cash in on familiar (or even unfamiliar) titles that would never fly on the big screen. That gave us the miracle of 
VESPER is a unique 2022 sci-fi movie that just came out on video. I never heard of it before but it looked cool, so I rented it. And my hunch was right – it was cool, so now I’m telling you about it. That’s how it works.
THE WOMAN KING has an irresistible hook that made it a hit: Did you know there was an all-female military regiment in 1800s West Africa, “THE MOST EXCEPTIONAL FEMALE WARRIORS TO EVER LIVE”? Now that you do, wouldn’t you like to see them kicking ass on screen, fighting off the invading “Europeens,” with Academy Award winner Viola Davis as their badass leader?
