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  • The Wild Goose Lake

    The Wild Goose Lake

    ★★★★

    A spellbinding, take-no-prisoners neo-noir fashioned with a grim beauty, exposing a sordid underbelly of desperate people. Brilliant, expressive use of shadow, neon, architecture, and staging.

  • The Lion King

    The Lion King

    Ironic how photorealistic CGI sucks the life out of everything on screen. There isn't a single musical number that matches the 1994 version. I'm fuming over how they ruined "Be Prepared"—no one prepared me for this obscenity!

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  • Tusk

    Tusk

    ½

    Among the stupidest films I've ever had the displeasure of seeing. There are maybe fifteen minutes of competent filmmaking craft (which comprise the bulk of the trailer), and they expire well before the midpoint. Mostly, Tusk displays a complete lack of understanding in basic storytelling concepts: pertinent exposition, suspense vs. surprise, effective flashbacks, and, uh, story logic. Smith shows his hand far too early and then spends the remaining time putzing around with mundane eccentricity and narrative redundancy. While Tusk

  • Love

    Love

    Dull, obnoxious, and interminable, Love doesn't resemble actual sex. There's probably a good hardcore art film to be made, but this isn't it. Noé's provocation has never been so vacuous. Replete with awful acting and even worse dialogue, Love nearly sinks between sex scenes. Its narrative of relational discord, male ego, and selective memory is bankrupt of thematic insight—an essential ingredient for any story with an insufferable protagonist. There's a beautiful shot or two but nothing we haven't seen in his previous work. This is the film he should have titled Enter the Void.