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  • The Grudge

    The Grudge

    ★½

    Same old shit, only with a Mid Century Chic filter.

  • The Invisible Man

    The Invisible Man

    "Elisabeth Moss's talent only helps a film like The Invisible Man that doesn’t really care about abuse beyond its function as a plot device. After escaping Adrian’s (Oliver Jackson-Cohen) clutches, Cecilia (Moss) goes to live with a childhood friend (Aldis Hodge) and his daughter (Storm Reid). Or, rather, struggles to live, as leaving the house is too hard for Cecilia to bear. Cecilia never really stops talking about the control that Adrian exercised over her, even after she learns that…

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  • Whiplash

    Whiplash

    ★½

    "Exhilarating," "astounding," and "electrifying" reads the quotes on the film's poster, from agents of our culture of mean. Okay, I'll give it "electrifying." Miles Teller is a mean drummer, or maybe it's the jazzy cutting that tricks one into thinking so, but the implausible scenario is pretty low-down in how it tries to milk suspense from an unbridled spectacle of human cruelty. Not even sure Damien Chazelle believes his paltry justification for J.K. Simmons's worse-than-Gordon-Ramsay shtick. Maybe someone needs to throw a director's chair at his head so we can see if he's capable of drumming up a "Casablanca."

  • Timbuktu

    Timbuktu

    ★★★★

    Do not miss this great film when it comes to a theater at a major metropolis near you at the end of the month. It has its imperfections, but they pale in significance to its elegiac sense of will. After what happened yesterday in Paris, and especially for those confused about the ties between Islam and terrorism or operating under the mistaken belief that Charlie Hebdo's provocations weren't necessary, the film's searing, lucid depiction of innocents rightfully, righteously fighting fundamentalism from within will grip you in horrified empathy.