Recent theatrical viewings

[Rev. Powell]

GOODBYE, DON GLEES! (2021): Misfit Japanese teenagers in a private club called "Don Glees" go on one final adventure to find a lost drone, as age and circumstance seem to be pulling them in different directions. Animated coming-of-age tale set at that desperate time when boys want to cling to the comforts of childhood just as they are being confronted with the necessity to make more important and consequential decisions. 3/5.

[Rev. Powell]

ANVIL! THE STORY OF ANVIL (2008): Now in their fifties, members of the 80s metal band Anvil are still plugging away, going on tour and recording albums while working day jobs, looking for their big break. "Real life SPINAL TAP" is the go-to description, and during their disastrous European tour under a manager who barely speaks English it's perfectly accurate; the difference is that, although the movie is frequently amusing, Anvil's resilience is inspirational, not the butt of a joke. 3.5/5.

Pretty sure FastFreddysCat has seen this. I thought it was a new release; it wasn't until I was in my seat that I realized it was an older movie. So it was kind of luck that I saw this at all, since I never would have picked it for myself, but I enjoyed it.

[Rev. Powell]

BROS: An angry podcaster who's developing a Museum of LGBTQ+ history in NYC falls for a macho lawyer who uses steroids and likes Garth Brooks. A film created to address the issue of gay people not seeing themselves represented onscreen in predictable, mediocre, raunchy romcoms. 2.5/5.

[Rev. Powell]

THE WOMAN KING (2022): Based in fact (though not on a true story) story of Nanisca, a brilliant tactician and counselor to the king of Dahoney in the 19th century, who leads an all-female squad in battles against the Oyo empire who are allied with Portuguese slavers. "Viola Davis, action hero" is a phrase I never thought I'd see in print, but she makes it work in this Afrofeminist epic with moral quandaries and well-done battle scenes. 3/5.

[Trevor]

THE WOMAN KING (2022): Based in fact (though not on a true story) story of Nanisca, a brilliant tactician and counselor to the king of Dahoney in the 19th century, who leads an all-female squad in battles against the Oyo empire who are allied with Portuguese slavers. "Viola Davis, action hero" is a phrase I never thought I'd see in print, but she makes it work in this Afrofeminist epic with moral quandaries and well-done battle scenes. 3/5.

I believe this was shot in South Africa.

[Rev. Powell]

MOONAGE DAYDREAM: A moonage montage showcasing the work of David Bowie, with previously unseen concert footage, vintage interviews, and Bowie's own reflections on his artistic process. Director Brett Morgan embraces Bowie's aesthetic of chaos and paces the film like he's found the Thin White Duke's private coke stash, filling the screen with overlapping images of concert footage, film clips, ephemera, and psychedelia, cramming four hours of visuals into two hours of movie; it's an impressive audiovisual assault, although it can be overwhelming at times. If I have one complaint, it's that it can be TOO fast-paced; after an hour, I felt like I'd already seen two hours of material. Glad I saw it on the big screen in the theater; I wonder if I should regret seeing it sober, though. 4/5.

[Rev. Powell]

PLEASE BABY PLEASE: A gender-bending leather gang awaken unfamiliar desires in a beatnik couple. This queer (in every sense) movie answers the question of what might happen if the characters from "Scorpio Rising" took over a production of "West Side Story"; Andrea Risenborough, as the wife who keeps getting crazier and more masculine as the movie progresses, bases her performance on "how would Nic Cage play this scene?" Certainly not for everyone! 3/5.

[Rev. Powell]

TILL: Mamie Till-Bradley fights for justice after her 14-year old son Emmett is tortured and murdered for whistling at a white woman in 1955 Mississippi. Well-made, good-for-you cinema that takes few risks, choosing instead to ride Danielle Deadwyler's assured performance as the grieving mother turned civil rights warrior. 3/5.

[Rev. Powell]

THE BANSHEES OF INISHERIN: Colm abruptly decides he no longer wants to be friends with Pádraic, leading to a cascading series of tragedies. Set on an island of a few hundred people during the Irish Civil War, the script wrings the maximum consequence and the darkest humor from the simple premise; it's an acting masterclass with Colin Firth, Brendan Gleeson, Barry Keoghan, and Kerry Condon. 4.5/5.

[Rev. Powell]

THE FABELMANS: Young Stephen Spielberg Sam pursues his passion for filmmaking while growing up Jewish and dealing with his parents marital difficulties, frequent moves, and anti-Semitic bullies. At 2.5 hours, it could have been tighter, but Spielberg is incapable of making a bad movie, and this one has enough great scenes (Michelle Williams dancing in a nightgown, Sam's first kiss with a Jesus freak, David Lynch's amazing cameo) to forgive any slow patches. 3.5/5.

[Morpheus, the unwoke.]

THE FABELMANS: Young Stephen Spielberg Sam pursues his passion for filmmaking while growing up Jewish and dealing with his parents marital difficulties, frequent moves, and anti-Semitic bullies. At 2.5 hours, it could have been tighter, but Spielberg is incapable of making a bad movie, and this one has enough great scenes (Michelle Williams dancing in a nightgown, Sam's first kiss with a Jesus freak, David Lynch's amazing cameo) to forgive any slow patches. 3.5/5.

He's made some duds. Only 2 of the 4 IJ movies were good,

[Rev. Powell]

THE FABELMANS: Young Stephen Spielberg Sam pursues his passion for filmmaking while growing up Jewish and dealing with his parents marital difficulties, frequent moves, and anti-Semitic bullies. At 2.5 hours, it could have been tighter, but Spielberg is incapable of making a bad movie, and this one has enough great scenes (Michelle Williams dancing in a nightgown, Sam's first kiss with a Jesus freak, David Lynch's amazing cameo) to forgive any slow patches. 3.5/5.

He's made some duds. Only 2 of the 4 IJ movies were good,

True enough, I exaggerated. I actually liked all the first 3 IJ's, but I never saw the fourth one and I heard it was pretty bad.

[Alex]

True enough, I exaggerated. I actually liked all the first 3 IJ's, but I never saw the fourth one and I heard it was pretty bad.

That is a good choice to make. I thought the first 3 were fun and enjoyable.

[Rev. Powell]

THE MENU: Twelve guests, including a skeptical Anya Taylor-Joy, dine on an island with an ultra-exclusive restaurant run by a stern and eccentric chef (Ralph Fiennes) whose meals are equal parts haute cuisine and performance art; will this be their last meal? A rare, tasty thriller with a savory cast and a light sprinkling of satire. 48/5. 

[indianasmith]

True enough, I exaggerated. I actually liked all the first 3 IJ's, but I never saw the fourth one and I heard it was pretty bad.

That is a good choice to make. I thought the first 3 were fun and enjoyable.

I still say that CRYSTAL SKULL was better than TEMPLE OF DOOM.