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  • Yes, Giorgio

    Yes, Giorgio

    ★½

    Pavarotti occasionally has this look in his eyes, somewhere between wide eyed wonder and a needy child holding their breath for a parent's approval. It just doesn't work for a romance. With a little tweaking, you can almost (emphasis: almost) see a version of the film that would work better as a screwball comedy, with a near-burned out opera singer finding an unexpected, combative muse in a throat doctor. As is, it's an ineffective and unnecessary framework to get Pavarotti to sing various songs. Just stick with one of his concerts.

  • Legendary Weapons of China

    Legendary Weapons of China

    ★★★★

    Stellar, bonkers. Weirdly emotional, especially as the late star/director's daughter introduced the film at the MoMA screening. The main conflict is in the flashy, cheap trickery of "spiritual boxing" vs bluntly practical kung fu in wildly inventive set pieces that keep pushing just how contrived a story we can tolerate if the action is that good. Mistaken identities, charlatans, multiple groups converging on a single target...it sounds like a mess, but it ultimately comes together in a deftly humorous action classic.

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  • Mad Max: Fury Road

    Mad Max: Fury Road

    ★★★★½

    Due to my schedule, I usually catch a film and then race by bike to work. Getting off the bike, my hands were still trembling. It wasn't a particularly harrowing route. It was Fury Road.

  • American Assassin

    American Assassin

    ★★

    "You don't understand. We trained this guy. He's seen every season of 24, even the tv movies. He's mastered every Splinter Cell game. He can recite Tom Clancy passages from memory. He cannot be photographed unless he is holding a gun. And we gave him that gun."