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Still from Joe Dante’s Gremlins (1984)

Gremlins if ( screen.width < 768 ) { var date = new Date(); var maxAge = 365 * 24 * 60 * 60; date.setTime(date.getTime() + maxAge * 1000); var expires = '; expires=' + date.toUTCString(); document.cookie = "useMobileSite=yes" + expires + "; path=/; maxAge=" + maxAge; if ( document.cookie && document.cookie.indexOf("useMobileSite=yes") >= 0 ) { window.location.reload(true); } else { // No cookies. No Mobile version. } }

Letterboxd

Uh oh, we have gremlins in the control room…
Letterboxd is down due to an unscheduled technical outage. We’ll be back soon!

Still from Joe Dante’s Gremlins (1984)

Gremlins ga('set', 'dimension3', '/object/person'); ga('send', 'pageview');
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  • Fences

    Fences

    ★★★

    There's a difference between a powerful performance and a forceful performance. Too often, the performances within Fences swerve between these two notions, creating a striking inconsistency. This is with one exception, that of the restrained, elegant, willful performance of Viola Davis.

  • The Shallows

    The Shallows

    ★★★½

    There's some up and down in the way the film builds tension, but you have to give it credit for taking chances, sticking to a very simple premise, and delivering some legitimate body horror moments.

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  • The Ridiculous 6

    The Ridiculous 6

    ½

    Adam Sandler: "I want to make a movie that's racist."


    Netflix: "About racism?"


    Sandler: "No, just racist."


    Netflix: "Ok, sounds great."

  • Me and Earl and the Dying Girl

    Me and Earl and the Dying Girl

    ★★★★

    It earned the laughs, the tears and the cheers. Above all, Me and Earl and the Dying girl is earnest and quite wonderful. Also, its in-movie obsession with Werner Herzog warmed my heart.