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  • True Story

    True Story 2015

    ★★★★ Watched 01 Apr, 2015

    Hill plays New York Times journalist Mike Finkel, freshly dismissed and disgraced when he discovers that accused murderer Christian Longo (Franco) has been using his name while on the run. Finkel realizes Longo’s grisly crime can be spun into an opportunity — at a moment when he’s unemployable, it’s a story only Finkel can write. Based on Finkel’s 2006 memoir and vividly (sometimes upsettingly) dramatized by first-timer Goold, 'True Story' is a thoughtful and frequently tense exploration of truth, deception, and exploitation, anchored by a series of effective two-handed jailhouse scenes between its stars, who are both working at top skill here.

  • Roar

    Roar 1981

    ★★ Watched 01 Apr, 2015

    Made by 'Birds' star Tippi Hedren and her husband Noel Marshall (with her daughter Melanie Griffith and his two sons playing their kids), 'Roar' is a stunningly ill-advised tale of a researcher living with jungle cats, who apparently had the run of the set and, legend has it, injured 70 cast and crew members during the production. You can see how: the frame is filled with lions and tigers attacking each other and people, to the point that you stop…

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  • Under the Skin

    Under the Skin 2013

    ★★★★ Watched 21 Mar, 2014

    A beautiful, bizarre, and occasionally troubling bit of abstract art-house sci-fi in the Beyond the Black Rainbow vein from director Jonathan Glazer (Sexy Beast, Birth). Scarlett Johansson (who appears in just about every frame) plays a well-disguised alien creature who picks up men and devours them; some have dismissed the picture as an indie riff on Species, but if the narrative is derivative and a tad monotonous, there’s something intoxicating about the fluidity of Glazer’s striking images and the mood he manages to sustain throughout the peculiar tale.

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  • Boyhood

    Boyhood 2014

    ★★★★½ Watched 20 Jan, 2014

    Richard Linklater and his cast shot this chronicle of a young man’s life in bits and pieces over 12 years, a narrative feat all but unparalleled in modern cinema. But the great pleasure of Boyhood is how its tremendous ambition is belied by the picture’s charming modesty; in its pacing and approach, it is very much in the shambling vein of the Before trilogy and Slacker. It also shares those films’ verbosity, its characters frequently engaging in searching conversations about…