Currently browsing the "Crime" category.

Review: Decision to Leave

This Korean romantic thriller from Park Chan-wook (Handmaiden, Snowpiercer) begins with the classic set-up. Weary detective Hae-joon (Park Hae-il ) arrives at a crime scene. A man is dead. But was it an accident or could it be murder? The police want to close the case and call it an accident, but it begins to look like his young, beautiful widow Seo-rae (Wei Tang, Lust, Caution) could be a murder suspect after she comes to the station. She has an alibi and Hae-joon wants to believe her. Still something is off. And as the attraction grows between them while he continues his investigation, the question of whether she is a femme fatale seducing him to get away with murder or her feelings for him are real plagues him. It’s a slow twisty story. And though it is probably a bit longer that it needs to be, it’s a satisfying and engrossing murder mystery.

Quickie Review: See How They Run

Loved Knives Out and can’t wait for the sequel? See How They Run may help fill the time. It’s sorta Knives Out light… a comical murder mystery featuring an A-list cast led by Sam Rockwell (Three Billboards Outside Ebbing, Missouri, Jojo Rabbit), Saoirse Ronan (Little Women, Lady Bird) and Adrien Brody (The Pianist) in a farcical blend of fact and fiction. A whodunit within a whodunit.

Review: All the Old Knives

I keep forgetting the name of this movie– wanting to call it Knives Out, which it isn’t. It’s not as sharp, or entertaining. But it is engrossing. There are worse ways to pass the time than watching a rakish Chris Pine and alluring Thandiwe (formerly known as Thandie) Newton engaging in intense dialogue (and other stuff too) while seeking to unravel the mystery of who is lying to whom.

Quickie Review: Blacklight

Now where did I put that last review of a Liam Neeson action movie? I can probably just dust it off…

At nearly 70 (!) Liam Neeson remains quite watchable. But the action shtick is getting old. Move it along — nothing new to see here folks. Unless you just feel compelled (as I often do) to watch Neeson exercise those particular skills that have carried him through every action thriller since Taken, which set a bar that few of Neeson’s films– in this particular genre– have been able to match.

Review: West Side Story

If anyone can get away with doing a new film version of West Side Story— without really changing the story or the era it’s set in– it’s Steven Spielberg. Here, he delivers a solid adaptation/reimagining that feels fresh while also paying homage to the original 1961 award-winning classic. Lest you’ve forgotten, West Side Story is itself an adaptation– of Shakespeare’s “Romeo and Juliet,” the tragic tale of star-crossed lovers whose deaths ultimately reconcile their feuding families. In West Side Story, the star-crossed lovers are Tony (Ansel Elgort) and Maria (Rachel Zegler), caught in a dispute between rival gangs, the Jets and the Sharks, in 1950s New York City.

Quickie Review: American Night

This neo-noir crime flick set in the art world has a good cast, looks fabulous, and even has some decent music. But at just over two hours in length, it never really finds its mojo. The story revolves around a stolen Andy Warhol Marilyn print. Michael, a young mafioso with the soul of an artist (Emile Hirsh) wants it back because his dead father promised it to him, but then sold it. And he’ll go to any length to find it. Murder, torture, whatever. 

Review: Candyman

Candyman… Candyman… Candyman… Candyman…

Say the name, or see the movie, and you’re in for a whole lot of bloodshed – and a hefty splattering of social commentary.

Review: La Dosis (The Dose)

Back in 2012, there was a big news story about a couple of Uruguayan nurses who euthanized a lot of hospital patients. Inspired by that story Argentinian director Martin Kraut in his feature debut has fashioned an entertaining psychological thriller that centers on the rivalry between a senior and a junior nurse in a small hospital’s ICU, both playing God with the people they’re supposed to be taking care of. They couldn’t be more different in their personalities and motives though. And once they’ve each discovered the other’s proclivity, their game of wits threatens to kill one of them.

Arty Chick’s Seven Flicks: Week 14

This week I chose films from the 40s, 50s, 60s, 90s, and 00s. Two are from the same director. They take place in Rome and Paris and Berlin and Tokyo and Washington. Several of them are considered to be the greatest films of their genres. There’s comedy, political satire, civil unrest, a hitman double-cross, and what we do for those we love is a recurring theme.

This week’s films are:

 Bicycle Thieves,  Dr. Strangelove,  Lost in Translation,  Run Lola Run,  La Haine,  Le Samourai, and  Umberto D.

Review: Cruella

Cruella is a campy comedy crime caper that tells the origin story of one of the most iconic villains in cinematic history – especially if you’re a dog lover. It’s a prequel to the 1996 live action adaptation of Disney’s 1961 animated classic 101 Dalmatians based on the 1956 novel by Dodie Smith. Got all that? Like the character herself, there are a couple of different sides to Cruella the film. It’s based on a “kids movie” but is rated PG-13 and has a soundtrack that will land squarely in the wheelhouse of many adult viewers. The dialogue is witty and the themes are dark. And it stars two Emmas — Stone and Thompson — who both know how to land a dramatic punch and a punchline. Cruella could use a nip and a tuck here and there to bring the film under two hours (it runs 134 minutes) but overall it’s a fun watch.