MOVIE REVIEW: Nosferatu

For many, the stark and startling films of Robert Eggers are existential affairs and appointment viewing for those cinephiles who overuse the term “elevated horror.” To others, his level of haunting disquiet triggers them all the wrong ways. No matter where one sits, audiences will marvel at the strong female nucleus of Nosferatu and the vigorous lyrical poetry given to unholy terror. As his own master of the horror genre who set out to achieve a decade-plus passion project, Eggers unleashed his vision in an unshackled and uninhibited way only he could accomplish.

MOVIE REVIEW: Kinds of Kindness

Each chapter has their zany swerve at that magic 50-minute mark that throws viewers for a reflective loop while also grinding any earned momentum to a halt. The twists are so obscure, even by Lanthimos’ standards, that any salted suspension of disbelief strains credulity worth any investment in by the time the hammer falls for a mid-movie roll of credits and a hard transition. That kind of abruptness happens three times, sometimes right when a tangential storyline was hitting a grove, making the shifts to entire new settings and characters jarring and, worse, defeating.

MOVIE REVIEW: Poor Things

For better or worse, Poor Things is a movie of unsavory urges and scratched itches that pull the viewer down a pernicious drain of unconscionable behavior. There is a dark comedy buried in the muck of Poor Things that curdles to the surface in the final third as our strong female becomes the master of her own fate, body, heart, and business. Stone sells it at every turn. Still, at many points, one will wonder whether all of the absurdity will amount to something exotic or vapid.

2023, Independent Film, MOVIE REVIEW, 4 STARSDon ShanahanDecember 16, 2023Poor Things, Emma Stone, Yorgos Lanthimos, A24, A24 Films, Mark Ruffalo, Willem DafoeComment

GUEST CRITIC #26: Murder on the Orient Express

Fellow Chicago critic Jeff York is a delight to talk to on any and all topics, but our movie chats have become truly special. Jeff was able to view and review Kenneth Branagh's remake of Murder on the Orient Express. He's a self-professed fan and cover-to-cover expert on the Agatha Christie source novel and the previously celebrated 1974 film adaptation. His review will do better informative service than mine ever would.

MOVIE REVIEW: The Great Wall

"The Great Wall" is an imposing creature feature that stands as a three-headed glamour project. You have an A-list star venturing overseas for international credibility and a splashy director landing his official English-language debut. Aiming higher in aspiration is a production company hoping to open a new and profitable pipeline of investment between Hollywood and China. Visually splendid from top to bottom, this epic adventure squeaks by on its looks and spares no expense to make sure of that.

MOVIE REVIEW: A Most Wanted Man

This is still a bit of a tough sell. I think there's a large audience that wants explosions and sexiness with their spy thrillers. Some are going to call all of this quiet work boring and maybe even somber, matching some of the mainstream thoughts on other John le Carre film adaptations like "The Tailor of Panama," "Tinker Tailor Soldier Spy," "The Constant Gardner," and "The Russia House." Exciting or not, the man writes incredibly good thrillers. I see past the need for action and love that the devil is in the details. The slow burn factor works in "A Most Wanted Man" with compelling and steadily increasing story developments that maintain your investment.

MOVIE REVIEW: The Grand Budapest Hotel

Anderson's hot streak at winning me over has now extended to two films in a row with "The Grand Budapest Hotel." Richly detailed in every sense of possible style, this is a superbly entertaining little caper film that should yield more success for Wes Anderson and earn even more new fans. I know it's just March, but I'm going to go out on a limb right now and say that this is the best written film you will see all year. The script is brilliant beyond measure and a star-studded cast rarely misses a beat to make those words shine and leap off the page and screen.

EVERY MOVIE HAS A LESSON

by Don Shanahan

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