Reviews

The greatest strength of this coming-of-age story that centers on a young gay man is that his sexuality is established: being gay is not his discovery or central point of the film. He knows he's gay, as does his mom, sister, friends and neighbors. This film is about relationships -- an entire spectrum of them, and not just his interactions. Louis Hofmann as Phil turns in a stunning performance, a great deal of his best moments are unspoken and occur on his face and in his eyes. Jannick Schulmann as Nicholas is ferociously seductive and sweeps Phil and us onlookers off our feet. The surroundings feel natural and speak of each character beautifully. When elements begin coming together, the results are stunning, pointing to a strong script.

Poorly scripted, filmed with a hand-held -- possibly a phone. This entry into the "anyone can make a movie" club is the latest in low-concept DIY judgmental "moral stories." If you do bad things, you'll reap what you sow. The players seem possibly likable, but the film gives us no opportunity. That's tragic, because the simplest character definition and plausible plot might have made this an indie cult classic.

After the first three episodes, it's clear the writers can't steer clear of toxic cliché and tired stereotypes. There's too much useless babbling -- "where did you get this car, these eats are sticky" is what the son is whining about when the family is desperately on the run. The mother is an adamant soccer mom who doesn't seem desperate at all: she's gonna get answers to her questions or nobody goes any further... oh darn, the police have arrived.

This show is okay for a time killer, but nothing profound or groundbreaking is happening.

This film is suited for Lifetime TV or Hallmark Channel. With falling box office revenues, it's astonishing ithas had limited distribution to theaters.

Autism is a topic of massive concern that deserves to be treated with great care. This film presents a touching portrait of a widowed father trying to raise an autistic son on his own. Unfortunately it has the emotional finesse of a charging rhinoceros both in character-development and tone.

The father and son roles are aptly portrayed, but the script ventures into unknown territory and attempts to define it in ham-fisted ways. Then there's the played out trope of a grieving father who won't discuss his loss, despite repeated questioning from his son asking where his mom is. A lot of their interactions feel like those between two people who haven't met before, such as a dietary issue that could be remedied if the father bothered to incorporate what the boy needs (fiber) into what the boy wants.

The result feels overly ambitious. The school bully and others are one-dimensional and played with such gusto they lose their places. And then there's the person with whom Po most easily relates: a mentally-challenged person. Give me a break.

Most unforgivable was the happy ending; actually the avalanche of happy, tidy endings. The film's final act heads into territory that is so choked with tidy conclusions that I wondered what drama was up next to be neatly and much too easily solved. This script doesn't know when to stop.

This film starts out with a great sense of humor. Nat Wolff delivers an excellent start and Ryuk the death monster has a great touch of camp. Unfortunately the film begins to take itself seriously and then takes a serious dive when Lakeith Stanfield enters the picture. Everything he does is surface intensity: bulging eyes, hands jamming into bowls of candy sending mess everywhere, staccato vocal delivery -- because that's what intensity sounds like.

It's a shame this went off the rails.

For three years I lived around the corner from this mansion. Some of it was used as office space.

The actual construction of the mansion is fascinating, as were the confirmed portions of history about a silver baron leaving his wife to be with his mistress. The two of them disappeared.

Unconfirmed urban legends include the carriage house floor being excavated and two skeletons -- one male, one female -- being found and assumed to be the husband and his mistress.

Another urban legend included misfortune befalling young women -- twisting ankles, breaking limbs, and feeling menaced -- outside the place at night. The mansion is located in a busy neighborhood on Capitol Hill with a lot of foot traffic.

It's too bad this film has no cohesive story through its running time, the subject could have been fascinating, but is not.

This is a well-written, thoughtfully directed crime drama... another one; BUT actor MyAnna Buring, who made a big splash in RIPPER STREET, proves she can shift gears and deliver a contemporary role with immediacy and honesty.

Ben Batt portrays her partner Paul, and their banter sounds genuine and the rapport between them is easy and realistic.

The plot progresses with few differences from other highly-rated investigative dramas. That's good news, but I wasn't sure if I could take another season of BROADCHURCH or THE KILLING. Luckily for Buring, I'm hooked and watching her acting choices.

Glad to see she has escaped from the beating that was MY HOT PROPERTY, a film so driven by its premise, the characters don't have a chance.

EAST SIDE SUSHI is a modest film with great intentions, some freshman bumps, and enough predictability to hold it back from greatness. It's a great watch, but gets issue-laden and doesn't find unique solutions for presenting ore resolving them.

Lead actor Diana Elizabeth Torres delivers her role with magnetism and genuineness. She's a promising talent and I hope to see her a lot. Visiting her IMDb page, I noticed IMDb still refers to female actors as "actresses." Time for them to retire that term in the same box as "negro" and "retarded." The scene in which ethnicity of the Asian men in the sushi bar is addressed is probably its best moment. It unravels the real reason our protagonist can't get ahead.

Yutaka Takeuchi possesses a lot of magnetism and never overplays his hand, even though his role isn't written with a great deal of uniqueness. He makes a great leading man, though it would be good to see him liberated from such typical-Asian-male depiction. He's quite dashing and manages to telegraph interest below a simmer.

To its credit, East Side Sushi made me ravenous, with a great desire to try sushi with fresh spicy elements.

There are moments when this film seems to have a story and destination, but Ashley Ryder, porn performer, was obviously cast for his physical appeal, not acting ability.

The story and film are lurid and puerile. Down-and-dirty film-making can be seriously brilliant (Tangerine) or shockingly poor and self-indulgent, as is this film.

To make myself feel balanced and fair, I deducted one star for predictability -- but just one. Knowing where characters are going is not a huge crime.

I love this cast. Tom Wilkinson and Andrew Scott are renowned for creating and inhabiting completely formed characters. Jessica Brown Findlay is hot on their heels. She first came to my attention as Lady Sybil in DOWNTON ABBEY. Now she's scorching the small screen in HARLOTS with an incredibly complex character. In this film she is nerdy and quirky, but wears it well. With lesser actors, similar roles feel labored and annoying.

The impossibly handsome Jeremy Irvine is well matched with Findlay, their luminous nerds are such a guilty pleasure and I was happy to see their story-line progress.

If this were a Hollywood effort, the band of misfits would probably be one-dimensional and unpalatable. What we have here are misfits who are relatable: co-workers, strangers at the market, family, friends, and possibly ourselves.

This is a film full of heart that some modern directors are too scared to make: it's adorable and full of heart. Written and directed by Simon Aboud (COMES A BRIGHT DAY), it's sweetness is delightful and delicate without being overpowering.

This series burst out of the gate with a tangle of limbs, questionable intentions and plenty of raunch. Unfortunately writers have taken this in the direction of treachery, and it has become a boring parade of sneers. Too many characters dying, too many mean spirited characters.

By the end of the fifth episode, HARLOTS has become mired in its confectionery wigs and dresses. Two houses full of characters and yet so few stories to tell. It feels like many wasted opportunities.

Jack Rowan delivers an astonishing performance and has commanding presence. He posses heartthrob looks and an intriguing ability to sell this character's treachery and quirks. What an amazing feat for a young talent.

Romola Garai is surprisingly convincing in this role that is 10 years older than she is. Her character compartmentalizes and as situations become overwhelming, Garai keeps the lid on the melodrama and cuts to the heart of her character.

The title is so very on-the-nose and unfortunate. The show itself is an incredible journey into troubled psychology masked by teenage angst and turmoil.

This film obviously has a limited budget, but it's biggest handicap is limited imagination and innovation.

These actors are given nothing to work with but scraps from other action films. The quiet stretches are the strongest parts of the film, and they're not strong.

The real weakness is when action scenes are shot and it's obvious only one take was in the budget.

The scene between Rhys-Meyers and Gigandet at the conference table sounds like bad adult film dialogue. I'm guessing this entire film was shot with one take per scene.

The trailer cherry picks "deliciously pitch-perfect" when that quote applies only to the reenactments of YOUNG BUCKS, the Bachelorette-style reality TV show. Frankly, they were pushing the age of the male suitors. Top billed Matthew Morrison is 38 and his face looks every bit of it.

Less successful is the family drama that isn't very interesting and reeks of "prodigal son" shtick. Morrison isn't very spontaneous and doesn't really create and inhabit characters. He brings his set repertoire to the role and takes on the character's name. That's it.

The script suffers from absence of subtlety. EVERYTHING the characters are thinking comes out of their mouths. The expository dialogue reveals that the writer/director doesn't trust the audience to perceive anything. Thus we end up with emotions by braille.

This would do better on Lifetime TV than the big screen.

Actor Graham Rogers is a 26-y/o high school student whose tragic loss of friends and track teammates sets the stage for this "running as emotional release" teen tearjerker.

The film may work for teens, but anyone older will notice that Graham's catharsis is superficial. Be it the grief-by-numbers script, Hallmark/Lifetime-level direction, or Graham's acting limitations, this tale if personal turmoil keeps its emotions on the surface like an oil slick.

In just a couple of scenes, veteran actor Tim Roth infuses more interest than Rogers manages for the rest of the film.

Billy Crudup deserves better dialogue as well as character development. Th0ough he isn't an "It Boy" anymore, Crudup's acting chops were proved in the recent gem 20th CENTURY WOMEN.

For a far superior conceptualization of this type of tragedy, see THE SWEET HEREAFTER. The recent French film "1:54" portrays a troubled runner with much more depth and interest, despite that film's fail at the finish line.

I read the books when I was third and fourth grade; watched the previous miniseries and movie adaptations, and am thoroughly enchanted by this new series. Amybeth McNulty embodies Anne in new light and delivers a fully-formed character. Three episodes in and I am hooked on the evolution of so many characters.

The child actors are phenomenal and treated with great detail and continuity. The simple route would be less dimensional school pupils, but this series brings them all into view fully formed, with great individuality.

Three episodes in and I'm falling in love with the elderly couple who adopted Anne in a very real way. Geraldine James portrayal is unfolding quietly and convincingly. She is helping to complete the heart of this tale and the charm of it is that the character of Marilla seems as surprised by it as we are.

What a phenomenal effort.

While some of the detail is beautifully achieved -- computers for one -- this film remains an homage to science fiction's "dude culture" of sexy women (not always convincingly capable) and male slobs like Sizemore.

It's tiring and boring to see women treated this way, and it's universal. Just watched a similar treatment for a TV pilot.

So disappointing and incredibly insulting to women astronauts and scientists.

Other than a strong cast of Black actors, Burning Sands brings nothing new to this over-trodden tale of hazing brutality and frat stupidity. Missing are any drivers that would make young men want to be part of such a moronic society.

The acting is strong, the faces memorable and the brutality is palpable, but it just wasn't enough.

The film ends with the central character making a cell phone call and mumbling something into the phone that is frustratingly unintelligible. I watched a screener of this, and replayed the final seconds several times, but couldn't make it out. What an incredible oversight.

In this alternate reality, Tom on his 25th birthday is to pick out his soulmate by her voice alone. Twenty women who are also marking their 25th birthdays read poetry and he chooses one voice. How grotesque for the women, who don't choose or refuse.

French film is renowned for being ruled by philosophy. What is this philosophy, that women exist for the sole fulfillment of men?

Moving on, Tom now sets off to find his partner by her voice alone. Aided by a specialized detective, they locate Lea. But he's not satisfied and essentially rejects her, creating in his head his ideal mate Jeanne.

For all its appeal, conveyed through breathless and frantic performances, and some interesting lensing, the dark cloud that hangs over this film is its positioning of women as subject to male approval and selection. How about a world where men wear crotchless pants leaving their genitals exposed and they are judged by women without being allowed to speak?

A couple of promising young actors -- Whitesell and Duffield -- are lost in a throng of TV-grade actors in a mire of rehearsed deliveries and forced boredom. Why are TV directors still allowing young women actors to get away with forced boredom with a nasal delivery? It's bratty and amateurish, and went out with "OH MA GAWD!" I feel bad for Martin Donovan in this role. The sci-fi angle is cheesy and worn out. He has done immense dramatic work in the past, but the script is so poorly written he can't "bring his stuff." What a waste and a shame.

The effect of this program is overall so weak and will grow old fast without any camp or nostalgic value. The writing and/or directing are mostly to blame. This program is frozen nonfat vanilla ice milk, with sugar-free artificially-flavored vanilla sauce, served in a disposable bowl.

This soapy tale is gorgeously mounted, has a cast of proved veterans and sexy young newcomers, and it never builds steam.

Endless voice-overs by Glen stop momentum cold, as the emotional rise is being described.

This is paint-by-numbers drivel that is predictable, and when it's not -- such as HOW DID GRANNY FIGURE OUT THE CLUE, it simply doesn't make sense. Twists are terrible and played out as if the audience are stupid.

Ruairi O'Connor brings interest, but the script and direction chicken out on what could be intense and searing.

Tanya Reynolds is saddled with a character so burdened with quirkiness (allergic to water, anorexic, depressed, misanthropic), that by the time the BIG SECRET of her existence is revealed, it's anticlimactic.

What a shame and what a waste.

The first episode of THE HALCYON feels as though it was created for an American audience -- it feels obvious, not nuanced. As far as origin episodes go, it's packed with characters and sets many balls in motion. A few actors establish with strength, but others seem to be modeling wardrobe. --- There bit of tension and a nice jolt in direction, but the production doesn't achieve the velocity suggested by the music. Although the project is beautifully dressed, it feels very familiar. What might be run-of-the-mill sibling rivalry still has a chance to become much more: sibling teamwork. --- Although THE HALCYON has been compared to DOWNTON ABBEY, the pecking order and their relationships are less precise. A missed opportunity with THE HALCYON was establishing it as an actual functioning hotel before igniting fuses.

This version of Agatha Christie's WITNESS FOR THE PROSECUTION shakes off what can often be goofy about Christie's stories and treats the characters as fully-formed individuals in an historic setting. It's an impressive effort with a shocking cast who inhabit their characters.

This is awards season in the U.S. and studios trot out their best efforts in a last minute bid to garner accolades. Were this a feature film, it would surpass many mega-budget films.

Director Julian Jarrold -- THE CROWN (2016), BECOMING JANE (2007) and KINKY BOOTS (2005) -- utilizes the strong talent assembled and tells an intriguing story of characters and conflict.

Billy Howle as the accused is convincing, constantly eye-catching, fully immersed and impressive. I've seen him in several other projects, including the miniseries GLUE, and he bares great vulnerability on screen, and it's believable.

Toby Jones is reliable at being superior and nuanced, he is a huge asset to this series.

Andrea Riseborough is enigmatic and surprising. I am accustomed to seeing her in contemporary dramas, and she delivers this character like placid waters with a shark circling beneath, ready to emerge and strike.

This version is so satisfying and memorable, I'm almost dreading the big screen, and likely big budget, version coming from Ben Affleck in 2018. His Oscar-bait 2016 film LIVE BY NIGHT shows a love for period pulp, but an inability to stitch it together. This version of WITNESS FOR THE PROSECUTION should be the standard against which his is judged.

For THIS IS US, Fogelman and his writing team have figured out a formula that works gangbusters: introduce and establish the characters, then tease the ensuing years in the final minutes.

It's intriguing to watch the acting desire of Toby right up against the spoiled, narcissistic, entitled attitude of Kevin -- who obviously doesn't know how good he has it, or how short two years actually is.

The character and backstory being crafted for Kate is astonishing and Chrissy Metz is perfect at every step.

Dialogue can be a little expository, but this is network TV. Even story lines for secondary characters are excellent, and those characters receive situations in which they can respond and shape themselves into realistic forms.

This production reeks of effort: it tries too hard, lacks elegance -- which is ironic for a drama centered around haute couture. Several main stories are crowded by secondary characters with their own stories. It defies the main rule of sophisticated attire: a strong statement with judicious embellishment.

Much of the pilot is shot in dark rooms, hallways and streets. Whomever designed the sets and lighting fail to highlight and direct the eye. Moving and static shots are lost in the shadows, when such atmospheres are opportunities for the best methods perfected in the film noir era. If the cinematography in this production was translated to black-and-white, much of it would be ink blots.

Unfortunately much of the dialogue is expository because there are so many stories being told the characters have to think aloud in order to be followed.

In the end, choices weren't made, EVERYTHING was piled on. The result is a pilot that can barely move under the weight.