The Scarifying Babadook Is a Rare Horror Triumph

If we’re honest, most of us who relish a good horror film don’t actually hope to feel something like horror. The appeal is, instead, that of shock and surprise, all candied up, the crowd-pleasing bits staged with the kind of extended setup/payoff patience that the makers of comedies have long…

Constipation Crime Drama The Mule Offers Relief Only at the End

Perhaps it’s fitting that a crime drama about constipation should take so long to get going. Directors Tony Mahony and Angus Sampson’s tense true-life Australian drug-trafficking ick-out The Mule opens with a sweaty Ray Jenkins (Sampson) dropping trou and spreading for airport security, his face straining for a blithe cluelessness…

Citizenfour Captures Urgent, Nerve-Racking History in Progress

Director Laura Poitras’ Citizenfour boasts an hour or so of tense, intimate, world-shaking footage you might not quite believe you’re watching. Poitras shows us history as it happens, scenes of such intimate momentousness that the movie’s a must-see piece of work even if, in its totality, it’s underwhelming as argument…

Art and Craft‘s Trickster Forger Is an American Original

Knocking out the first-rate forgeries that fooled 60 American museums? That was a curiously mundane miracle, something for Mark Landis to do while watching TV. A frail and ascetic Mississippian who resembles Michael Stipe playing Truman Capote, Landis sketched and painted minor Currans, Averys, and Cassatts with one eye on…

The Cunning, Cutting Blue Room Leaves You Guessing

Mathieu Amalric’s brisk, agreeably nasty thriller The Blue Room turns on a couple of murders — or does it? — but rather than corpses, it’s time and space and human connection that get most memorably diced here. Working from Georges Simenon’s ’64 novel of a wrong man accused — or…

Murray Plays for Laughs Until St. Vincent Gets Maudlin

The big news: In its first half, before it bottoms out with the rankest feel-goodery, Theodore Melfi’s too-familiar ain’t-he-irascible comedy-drama St. Vincent features scene after scene of Bill Murray actually trying to make you laugh. How long has it been? He plays Vincent, a drunk-driving Brooklynite whose look suggests science…

The Pact 2: The Sequel Pales Before the Original

The best that can be said of The Pact 2 is that its existence might draw the attention of more viewers to The Pact, a superior indie creep-out from 2012 whose creator, the writer-director Nicholas McCarthy, fashioned it according to three inviolable principles. One: Get the heroine (Caity Lotz) into…

What’s the Fun of a Dracula Who Hates Neck-Biting?

This Dracula Begins-style sword-and-fangs curio plays like someone said, “What if we took a vampire flick but did a find-and-replace, swapping out all that bare-neck sensuality for some videogame ass-kicking?” Or: “Remember what the Star Wars prequels did for Darth Vader? Let’s foist the same kind of tragic love story…

Nice-Guy Denzel Kills in the Cartoonish Equalizer

Before its regular-Joe hero gets bitten by a radioactive equation and becomes the Equalizer, who’s sort of the Rain Man of puncturing Russian mobsters’ windpipes with corkscrews, Antoine Fuqua’s eye-gouging, brain-drilling, crowd-pleasing latest gives you a reel or two to remember what movies felt like back when they were about…

Dolphin Tale 2 Is a Warm, Wise Animal Tale

Even the most inspiration-averse will have eyes as moist as blowholes by the end credits of Dolphin Tale 2, a good-hearted kids’ drama whose earnestness and surprising moral complexity put other sunny-weepy sea-mammal flicks to shame. After the story wraps up, the filmmakers work a trick that’s become common in…

Innocence Could Have Been the Great Prep-School Blood-Thriller

Since it’s the kind of slow-building movie whose very premise is something of a spoiler, a pretty delicious one, let’s get the consumer-guide jazz out of the way first. Hilary Brougher’s YA-ish horror satire/romance/whatzit Innocence, adapted from Jane Mendelsohn’s novel, boasts a wicked setup, some strong performances, several gloriously bloody…

In The November Man, Pierce Brosnan Gun-Parties Like It’s 1989

Here’s what an R rating gets you these days: a few splattery headshots, some glimpses of cable TV-style background nudity, a couple kids and families popped by assassins, a brace of fucks, in dialogue, and one un-bracing fuck, in bed, mostly clothed. During its longueurs, this engagingly grim spy-versus-spymasters time-passer…

Elmore Leonard Deserves Better Flicks Than Life of Crime

Weep at another whiff of an Elmore Leonard adaptation, one that nails down neither the peppery laughs nor the street-crime desperation that are key to the writer’s work. Instead, the comedy is too broad to take the characters seriously, and the vibe is breezily aimless, a mistake in a story…

Into the Storm Attempts to Find the Fun in Destroying American Towns

Incompatible fronts collide in director Steven Quale’s weather-horror patience-tester Into the Storm. The first is the summertime yen for righteous kablooey, the dumber the better, exemplified here by drunk galoots hauling ass into a twister on a four-wheeler ATV, tossing beer cans and whooping about getting a “million YouTube hits.”…