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‘rebel moon — part two: the scargiver’ review: zack snyder, netflix, rinse, repeat.
Sofia Boutella, Djimon Hounsou, Ed Skrein, Michiel Huisman, Doona Bae and Anthony Hopkins are among the stars of this follow-up to the director's space saga.
By Frank Scheck
Frank Scheck
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Wheat. So much wheat.
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Such musings are unavoidable when confronted with this would-be epic, which continues the story of a rag-tag group of farmers living on the moon of Veldt being threatened with extinction by the imperialistic Motherworld. Their military forces, the Imperium, are led by Darth Vader, sorry, Admiral Noble ( Ed Skrein ), who wakes up understandably cranky after his near-death experience in the previous film.
The farmers, meanwhile, have been organized into a fighting force by Luke Skywalker, sorry, Kora ( Sofia Boutella ), who’s assembled a mercenary team featuring such warriors as cyborg, lightsword-wielding Nemesis (Doona Bae), perpetually shirtless Tarak (Staz Nair), hunky farmer Gunnar ( Michiel Huisman ) and former Imperium general Titus ( Djimon Hounsou ). There’s also a very articulate robot, C-3PO (dammit, I mean, Jimmy), voiced by Anthony Hopkins , delivering the best performance in the film without even having to show up on set.
If you thought the previous installment was all build-up, you may be distressed to learn that the follow-up is…a lot more build-up. Although this time it’s a little faster-paced and leads to an extended battle sequence comprising roughly the film’s second half. It’s hard to tell, however, since Snyder employs so much of his trademark slow-motion that you get the feeling the movie would be a short if delivered at normal speed.
The first film was roundly criticized for its lack of memorable dialogue, plot elements or characters, and this one doesn’t do much to improve those aspects unless you consider Titus singing a mournful lament prior to going into battle to be a plus (Hounsou does have a surprisingly nice voice). None of the actors can really be faulted, since they exhibit an impressive commitment to their physically strenuous roles, many of them displaying the sort of toned, muscular physiques that the mere mortals among us can only dream of. Boutella and Skrein are particularly notable in this regard, especially as demonstrated in a kick-ass hand-to-hand fight sequence, taking place on an out-of-control spaceship, that seems to go on for hours (I’m not sure that it actually doesn’t).
The extended battle scenes with which Rebel Moon concludes prove undeniably impressive, which is for the best since they’re the film’s raison d’etre. Snyder provides an ample display of the visual flair and skill for action that have endeared him to legions of fans who exhibit so much dedication that they’re willing to sit through numerous versions of his films. As is the case with these two, for which Snyder has announced he’ll soon be providing R-rated director’s cuts running some three hours each. Which makes one wonder: Why bother to watch these versions that clearly don’t have his full endorsement?
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Review: ‘Hollywood’ Gives Movie History a Sudsy Rewrite
Ryan Murphy’s latest for Netflix starts an intriguing journey into an alternative 1940s Tinseltown, then swerves into schmaltz.
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By James Poniewozik
At the Golden Tip service station, somewhere in Los Angeles in the late 1940s, they pump more than gas. Drive up, tell the handsome attendant “I want to go to Dreamland,” and he’s yours, for a fee.
Everybody wants to go to Dreamland, right? That’s why people go to the movies, and why they go into the movies. This is how Jack (David Corenswet), a war veteran who wants to be a screen star, ends up at the Golden Tip in Netflix’s “ Hollywood ,” hustling to support his pregnant wife (Maude Apatow) while he chases his other hustle.
Jack is struggling, unconnected and of questionable talent. Yet he’s one of the lucky ones: He’s white, straight and easy on the eyes. The seven gilded episodes of “Hollywood,” arriving Friday, introduce a broad cast of would-bes and coulda-beens — black, gay, female — in a vivid but unconvincing ensemble fantasy about who gets to go to Dreamland and who has to keep dreaming.
“Hollywood” is the latest from Ryan Murphy and Ian Brennan, a co-creator, with Murphy, of “Glee.” Beyond that musical hit, Murphy has often explored ambition and its discontents, in series as varied as “The Politician,” “Pose,” “Feud: Bette and Joan” and “American Crime Story: The Assassination of Gianni Versace.”
The Golden Tip is run by Ernie (Dylan McDermott, looking like the porn version of Ronald Colman), a former silent-film star with the most conspicuous cough since “La Bohême.” It employs Archie (Jeremy Pope), a gay black screenwriter trying to sell a script based on the suicide of the starlet Peg Entwistle, who leapt to her death from the H in the Hollywoodland sign.
He finds a taker in Raymond (the Murphy regular Darren Criss), an idealistic young director who sees Archie’s script as a potential career-maker for his girlfriend, Camille (Laura Harrier). The problem: She’s also black, typecast in supporting roles as a comic-relief maid and constantly badgered to read her lines like Hattie McDaniel. (McDaniel later turns up, played by Queen Latifah, and recalls waiting to collect her “Gone With the Wind” Oscar in a segregated hotel.)
A starring role is not in the stars for someone like Camille in 1940s Hollywood. That’s just the way things were.
But “Hollywood” asks: What if they weren’t? The bid to make Archie’s movie starts as a glitzy, funny, gimlet-eyed dissection of bigotry and power. Then it lurches, halfway through, into a pep talk about what some kids can accomplish if they gather up their moxie and put on a show.
The pleasures of “Hollywood” are in its eye for historical details and its lusty, swellegant period cosplay. As Henry Willson — a real-life gay agent and power player — Jim Parsons pays out gleeful barbs like a sarcastic slot machine. Patti LuPone is a regal delight as a studio executive’s wife who hires Jack as a gigolo. (Lana Turner’s discovery story it is not — though Schwab’s drugstore is just a short hop away.)
The Golden Tip is based on an actual gas-station brothel operated by Scotty Bowers , one of several repurposings of history in the series. Henry signs Rock Hudson (Jake Picking), portrayed as a dim-bulb sweetheart. We meet Anna May Wong (Michelle Krusiec), robbed of a potential Oscar role in “The Good Earth.” A bacchanal at George Cukor’s mansion shows gay Hollywood at play. (Paget Brewster is a bawdy hoot as Tallulah Bankhead.) We’re told the story of William Haines, a gay decorator and onetime silent-film star who refused to live in the closet.
This is “Hollywood” at its most absorbing, nostalgic yet caustic. It serves up burnished postwar glamour while resurfacing the stories and bodies sacrificed to maintain the movies’ homogeneous sheen — the artists of color, the closeted executives, the overlooked women.
At the same time, it echoes what hasn’t changed, especially regarding sexual abuse. Henry preys on his own clients, including Rock, and in a pointed bit of casting, Mira Sorvino, who spoke out against Harvey Weinstein , plays a once-starlet trapped in a sexual arrangement with a powerful producer.
Then “Hollywood” takes a turn, which it seems to rationalize, in a meta way, through the discussions over Archie’s script. A studio executive asks, why make the audience fall in love with an actress only to have her lose her dream and end it all? Don’t folks deserve to leave the picture show with some hope?
So it is in the series, which becomes a bit like Quentin Tarantino’s “Once Upon a Time … in Hollywood,” except that the wrong to be corrected is not the Manson murders but the generational killing of careers and silencing of voices.
“Hollywood” joins a boomlet of other TV alt-histories , like HBO’s “The Plot Against America” (set in a fascist 1940s United States) and Apple TV Plus’s “For All Mankind” (which imagines how society and world history might have changed if a woman had set foot on the moon in 1969). It argues that the path of history was not set by intractable forces but might have been rerouted had a few of the right people done the right thing.
It’s a noble thought and an audacious premise. It doesn’t work here, not because of the fancifulness — you are allowed to take liberties in Dreamland — but because of the story and character strains that “Hollywood” visibly goes through to steer to its conclusion.
Story lines that start out cynical suddenly turn syrupy. Characters develop consciences and talents they had shown little evidence of. The production takes on a forced sunny tone, as if the whole series had landed in Oz and the screen turned from black and white to color. It’s meant to be inspiring, but it only makes the viewer more conscious of the contortions the series goes through to tie itself up in a neat bow. (The last episode is titled “A Hollywood Ending.”)
One character who maintains some measure of complexity is Parsons’s jaded, hungry Henry, who gives a meta critique after screening a cut of the movie-within-a-show: “There is something about the ending that I just don’t buy.” It’s a knowing, self-aware line, but in the end “Hollywood” doesn’t heed that voice. It is determined to haul you to Dreamland, no matter how bumpy the ride.
James Poniewozik is the chief television critic. He writes reviews and essays with an emphasis on television as it reflects a changing culture and politics. He previously spent 16 years with Time magazine as a columnist and critic. More about James Poniewozik
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‘North Hollywood’ Review: Vince Vaughn Goes Indie in a Skateboarder Coming-of-Age Story
David ehrlich.
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There are countless different coming-of-age movies about kids who learn to blaze their own trail and become the best possible version of themselves (shoutout to the pride of Sacramento, Christine “Lady Bird” McPherson), but “North Hollywood” is one of the rare few that actually embodies the courage of its convictions both on-screen and off. On second thought, make that less on-screen than off.
Written and directed by Mikey Alfred (a 25-year-old renaissance man whose prior accomplishments include founding the skateboard company Illegal Civ and co-producing Jonah Hill’s “ Mid90s ”), “North Hollywood” grinds out a familiar but knowing portrait of a scrawny California teen who’s forced to choose between the beaten path and his dream of becoming the next Tony Hawk. Half-sketched as its drama can be, Alfred’s feature-length fiction debut is sustained by a complete lack of poser energy and a few new tweaks on some classic tricks; come for Vince Vaughn downshifting into his indie dad phase, stay for the woozy retro vibe that evokes a timeless sense of starry-eyed youth by layering mid-century Doo-wop from the likes of Arthur Lee Maye and The Chiffons over modern skate footage.
But nothing in the movie itself is as memorable or convincing a testament to the power of self-belief as the story of how it became a hit. Rejected by Sundance — despite a relatively stacked cast and a motley crew of producers that includes hitmaker Pharrell Williams and Netflix heartthrob Noah Centineo — and declined by distributors who hadn’t forgotten how A24 struggled to generate any traction with “Mid90s,” Alfred eventually opted for a straight-to-the-people approach that saw him skip the (virtual) fest circuit and upload his baby to iTunes with all the fanfare of an amateur podcast.
As we near the end of its first week in the wild, “North Hollywood” is currently the second-most popular movie on iTunes, behind “The Marksman” (starring Liam Neeson, the Lebron James of VOD) but ahead of “proper” indies like “French Exit,” well-advertised new rentals like “Chaos Walking,” and Oscar-winning stalwarts like “Nomadland” and “The Father.” Yes, some of those titles are also available to stream at no additional cost on other platforms, but they also had seven-figure PR campaigns and prime berths at Venice and TIFF. “North Hollywood” had three nights on an Inglewood drive-in screen. Whatever assortment of niches lifted this thing towards the top of the charts (skate kids, Miranda Cosgrove superfans, uncles who are still ride or die for Vaughn, etc.), it’s compelling evidence that people can still forge their own “yes” from a world that keeps telling them “no.”
“North Hollywood” strives to convey a similar message, but things get a bit muddled once you actually start watching the movie. Ex-professional skater Ryder McLaughlin — doing all of his own stunts, none riskier than the slick-backed hair style he sports to sustain that vintage Americana vibe — delivers a raw yet elusive lead performance as Michael, the kind of 18-year-old kid who spends a lot of time looking at the bathroom mirror in search of whoever he’s supposed to be. His construction worker single dad (Vaughn) offers him one of two options: Go to college, or slap on a hardhat and start working alongside his old man. Oliver isn’t necessarily a dick about it, but, well, he’s Vince Vaughn. He talks fast, he stands tall, and his worldview is about as flexible as the cadence of his jokes.
If Michael feels handcuffed to a future he doesn’t want, his ultra-believable yet perilously under-written best friends are both stuck in holding patterns of their own. The rich and spacey Jay (“Booksmart” standout Nico Hiraga) is going to have to get serious about his life by the time Labor Day rolls around, while the inexplicably named Adolf (played without a false note by Aramis Hudson) doesn’t share Michael’s ambition to go pro. For him, the “North Hollywood” trio — so named for the locale they’ve all written in Sharpie along the sides of their matching Converse sneakers — is more than just a safety blanket or a means to an end. So when Michael starts ditching his friends to flirt with the Stanford-bound Rachel (Cosgrove) and follow the local skate legends around like an overeager puppy, it’s the worst thing that’s happened to Adolf since the day his dad named him.
On that note, the movie is oddly mom-less — a strange wrinkle to a story that mines personal experience for palpable verisimilitude (Alfred’s first brush with showbiz resulted from his own mother working as Robert Evans’ personal assistant for 37 years). “North Hollywood” keys into masculine coding and inheritance as something of a zero-sum game, as it plunges into the heart of Michael’s crew and paints a vivid picture of how they operate together. With years of skate videos under his belt and an eye-popping cinematographer (Ayinde Anderson) at his side, Alfred knows exactly how to crystallize the kinetic energy that teens create from tormenting security guards and goofing on each other. The early scenes of Michael, Jay, and Adolf grinding on stairwells or loitering outside a restaurant that’s lit like a neon sock hop convey a bone-deep sense of belonging. “North Hollywood” drops in like a house on fire and builds an extremely promising foundation in the span of a few choice moments.
If only the 90 minutes that follow were able to build anything on it. The personal yet increasingly scattershot movie that Alfred churns out of his memories is as wayward as its leading man. Like Michael, “North Hollywood” is told with a steely determination and an eye toward something big. And, like Michael, the oodles of natural talent that it relies upon are defused by an uncertainty over how to use them.
The vague concern that Michael is outgrowing his friends and his father — voiced aloud by Adolf in a last-minute scene that lacks the muscle required to carry the whole story on its shoulders — is the closest the film comes to a consistent through-line, but “North Hollywood” is far too shapeless to meaningfully funnel its characters toward their futures. Cosgrove brings plenty of doe-eyed sweetness to the table, but Rachel’s only job is to pull Michael out of his comfort zone, and the stilted romance between them never passes the smell test (Michael won’t even drink out of a water bottle that’s touched her lips). Meanwhile, Vaughn disappears until the time is right for a wallop of tough love, Gillian Jacobs is stuck playing a guidance counselor in a weird scene that only seems to exist because Gillian Jacobs agreed to be in it, while Adolph and Jay are forced into the background as Michael convinces himself that his dreams can’t come true so long as his best friends — the realest part of his life — are still by his side.
Where does the time go? Most of “North Hollywood” is spent on an aimless free skate through Michael’s post-adolescent fog. That might have been a less enervating choice in a film that leaned into its shapelessness, but Alfred can’t peel himself away from the basic contours of a coming-of-age story. The result is a lived-in movie that knows its characters by heart and remains ineffably true to them during their most candid moments, but can’t muster the momentum it needs to push them towards places they aren’t ready to go. Michael’s journey ends with such a shruggy line of unmotivated voiceover that it almost feels as if “North Hollywood” has lost faith in its hero’s ability to succeed on his own terms. One way or the other, that faith has finally been restored.
“North Hollywood” is now available to rent or buy on iTunes.
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Home » Reviews » Hollywood Movie Reviews
Road House Movie Review: Jake Gyllenhaal’s Performance Is The Highlight Of This Strange Remake!
Jake gyllenhaal's road house feels more like a special pilot to a tv series than an actual theatrical film release. read on..
Star Cast: Jake Gyllenhaal, Daniela Melchior, Conor McGregor, Billy Magnussen, Jessica Williams
Director: Doug Liman
What’s Good: Gyllenhaal’s performance is electric, and Daniel Melchior also brings a lot to the table, their chemistry is quite satisfying to see.
What’s Bad: The film definitely feels like something that should be on streaming, from the production values to the way the story moves along.
Loo Break: The first act of a movie should be quite important but here it feels like the story doesn’t start, but on the second act, quite curious.
Watch or Not?: The film becomes a must-see only if you are a huge fan of Gyllenhaal.
Language: English (with subtitles).
Available On: Amazon Prime Video
Runtime: 120 Minutes.
Remakes and reboots will never stop, at least for the past couple of decades; it seems like Hollywood will always choose to go back to something that worked in the past, even if it was a long time ago, before even thinking to do something new and fresh. Doug Liman’s new Road House remake fits the bill of something that maybe shouldn’t exist, but it does, to the teeth, and the result is a film that can be quite entertaining, but it definitely doesn’t have the quality to be a big theater release.
Road House Movie Review: Script Analysis
Road House comes to us after a big controversy dealing with how to measure if a film belongs as a streaming release or if it should be released in theaters. The situation is quite interesting and really speaks to the ways the film business has changed in the last decade. Before the pandemic, a film like this Road House remake would have gotten a theatrical release, no doubt about it, but in a post-pandemic world, the truth is that people would probably prefer to see something like this at home.
Why? What is the difference between this film and those that reach cinemas worldwide, well, for once, there is the situation of the scale and the way the film moves. At times, the movie feels more like an episode of a TV series, a sort of special pilot episode, than a movie. The first act is especially guilty of moving along as if nothing is really happening in terms of story or characters. It definitely sets a mood, but it is curious that the movie doesn’t think that it should grab people’s attention right away as if it believes there will be more episodes after this one.
In a sense, the film could be a better prestige TV series than a film franchise, but it is hard to say if Jake Gyllenhaal is ready for that commitment. Outside this strange TV vibe, the movie goes crazy when it comes to presenting its fight club type of plot, and it definitely feels like it is happening in another reality, one where every single person wants to fight, and they live for it. This hyperreality is quite fun and makes for one of the best elements in the film.
As it stands, the film does one thing right, and that is giving Gyllenhaal a chance to really show what he can do as a performer; you can feel that he is definitely committed to the role, transforming his body and creating a character that is worth following around. The dialogue and the way the scenes play out are not the most elegant examples of filmmaking you will see this year on screen, but they do their job of transmitting the essence of the characters and what they want to do.
Road House Movie Review: Star Performance
Jake Gyllenhaal has become quite an attraction as an actor; his skills as a performer cannot be overestimated, and yet, his results at the box office seem to be quite inconsistent. Hollywood has tried many times to make Gyllenhaal into a mainstream actor, but audiences seem to reject him again and again in the format but embrace him in smaller and more serious acting work. Thus, the fact that Road House got a streaming release feels right at home with Gyllenhaal’s record, but this doesn’t diminish his power as an actor.
Daniela Melchior, on the other hand, is proving to be quite a captivating presence on screen, matching Gyllenhaal’s energy beat for beat and just looking incredibly on the screen, all beauty and charm. Meanwhile, Conor McGregor debuts as an actor in this film, and it is quite surprising that the fighter manages to be an actual character in the film. It is unclear if McGregor can establish himself as an actor in the future, but at least here, his energy fits completely, and he makes for a great villain.
Road House Movie Review: Direction, Music
Doug Liman is quite a solid director; sometimes, and some other times, he can be quite inconsistent with the quality of his work; here, in Road House, the work of the filmmaker leans more to the second option, where we see the movie have this TV quality that you wouldn’t expect from someone like Liman, and also creating a strange sense of fakeness during the fights, which at the core of the movie are some of the most important scenes in the film.
Almost every single fight feels fake in some way; at times, they can be really blood-pumping, but this feeling is never retained throughout the entire film. The music composed by Christopher Beck does the job, but this is not a soundtrack you would listen to on its own, and no one really expects to. At the end of the day, the film stands as a production that clearly didn’t meet the new standards for a theatrical release. Liman might not like it, but he made a TV movie, and that is where people will watch it.
Road House Movie Review: The Last Word
Road House feels more like a special pilot to a TV series than an actual theatrical film release, and while the movie can be fun, it can also be inconsistent in its narrative and visual choices. At times, the film definitely has the intent to go all crazy and deliver exactly what people want to watch, but this is also accompanied by a strange first act that really doesn’t do the movie any favors in hooking audiences to the screen. Nevertheless, it is a perfect movie for a lazy Sunday in bed.
Road House Trailer
Road House was released on 21st March 2024.
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For more recommendations, read our Madame Web Movie Review here .
Must Read: Dune: Part Two Movie Review: Denis Villeneuve’s Brilliant Storytelling & Timothee Chalemet’s Stellar Act Deliver A Memorable Experience
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Universal has struggled to in recent years to bring back its classic horror franchises like Frankenstein, Dracula, The Wolfman, The Mummy, etc., attempts that were perhaps too literal. But thanks to the filmmaking collective known as Radio Silence they have, with Abigail , perhaps stumbled onto a way to keep the party going. In this case it is back to the immortal vampire story to end them all, Dracula, but here the bloodsucking title star is his 12-year-old daughter, not the infamous man himself who is reduced to a mere cameo.
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Not to be confused with killer doll movies like Annabelle, this young girl is such a seemingly innocent budding ballerina it comes as a shock to see her whole-hog transformation into daddy’s little demon later in the film. Alisha Weir , morphing into the most terrifying child since Linda Blair got an Oscar nomination for doing it in 1973’s The Exorcist, is the title star who becomes the victim of a kidnapping plot by a group of badass, but kinda dumb, criminals enlisted by Lambert ( Giancarlo Esposito , in for a couple of scenes), who has been hired to bring them together by an unseen but fearsome crime boss in order to snatch Abigail and demand a $50 million ransom to be paid by her very wealthy father. The job goes relatively easy as they infiltrate the family mansion and steal her away to a deserted, gothic-like house while awaiting payment for the gig. But as they will soon learn this is no ordinary job. “I am so sorry for what is about to happen to you,” Abigail innocently says at one point to one of her clueless kidnappers.
Watching this unfold I kept thinking of Agatha Christie’s endlessly copied and remade And Then There Were None (aka Ten Little Indians ), and sure enough later in the movie the screenwriters, Stephen Shields and Guy Busick, do indeed reference that inspiration quite literally. Any casual moviegoer knows when you gather a group of strangers in a dilapidated mansion, one by one they are going to be goners. It is just a matter of time — and how. After a lot of bickering between them, plus the discovery that Abigail is no ordinary little ballerina, we start to see some imaginative, bloodcurdling sequences, and the movie earns it stripes in the genre; this is definitely hard-R horror. Of course, with Frank leading the resistance, they turn on each other in a bid to survive as Abigail shows she inherited the family genes and talent for sucking the blood out of their misbegotten plans while at the same time niftily shows off her balletic talents in dispensing with this crowd.
Although I have been getting weary of the same old tropes used in so many horror films of late, the endless parade of sequels doing basically the same thing, Abigail is actually a lot of fun, perhaps part of its inspiration coming for a lesser-known 1936 Universal classic, Dracula’s Daughter, but still a completely different storyline than that one. Directors Matt Bettinelli-Olpin and Tyler Gillett (aka Radio Silence), who managed to freshen up the tired Scream franchise over the last two installments and are also responsible for the original Ready Or Not, show a real flair for injecting humor and horror in equal doses into the proceedings and really keep this thing building to the inevitable crescendo required of such a premise. Short of giving this material to a genius like Guillermo del Toro, they do a fine job in bringing it all to life, helped enormously by Brian Tyler’s sensational Grand Guignol-style score.
You can see why Stevens, an otherwise serious actor, might want to take on a gonzo role like Frank as he completely devours it without a worry that too much is, uh, too much. Barrera, who worked with the directors on Scream, shows she also has the chops for this sort of thing. Newton is pure fun, as is Durand who gets some of the best lines. Cloud has the real nutso character but sadly is out of the film much too early, though it’s enough to shows the potential the Euphoria star had for creating some out-there characters. Gone way too soon. The film is dedicated to him.
Producers are William Sherak, James Vanderbilt, Paul Neinstein, Tripp Vinson and Chad Villella (the latter also part of Radio Silence).
Title: Abigail Distributor: Universal Release date: April 19, 2024 Directors: Matt Bettinelli-Olpin and Tyler Gillett Screenwriters: Stephen Shields and Guy Busick Cast: Melissa Barrera, Dan Stevens, Kathryn Newton, Will Catlett, Kevin Durand, Angus Cloud, Alisha Weir, Giancarlo Esposito, Matthew Goode Rating: R Running time: 1 hr 49 min
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Where to Watch
Watch Hollywood with a subscription on Netflix.
Cast & Crew
Ian Brennan
Ryan Murphy
David Corenswet
Jack Castello
Patti LuPone
Jake Picking
Rock Hudson
Jeremy Pope
Archie Coleman
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Movie Reviews. Apr 11, 2024 10:49 am. By. Frank Scheck. 'Chicken for Linda!'. Review: A Touching Coming-of-Age Cartoon Caper Made With the Finest Ingredients. Directors Chiara Malta and ...
Set after World War II, "Hollywood" is the story of intersecting young people trying to make it in the industry. It starts with the story of Jack Castello ( David Corenswet, who starts charming but gets lost in the project), a young man trying to find his break but who ends up working as an escort at a gas station run by the charming Ernie ...
Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets
The Power of the Dog. #5. Brought to life by a stellar ensemble led by Benedict Cumberbatch, The Power of the Dog reaffirms writer-director Jane Campion as one of her generation's finest filmmakers. Starring: Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, Kodi Smit-McPhee. Directed By: Jane Campion.
Sofia Boutella, Djimon Hounsou, Ed Skrein, Michiel Huisman, Doona Bae and Anthony Hopkins are among the stars of this follow-up to the director's space saga. By Frank Scheck Wheat. So much wheat ...
Across theaters, streaming, and on-demand, these are the movies Rotten Tomatoes users are checking out at this very moment, including Ghostbusters: Frozen Empire (see the series ranked ), Godzilla x Kong: The New Empire (check out how to watch Godzilla movies in order ), and Winnie-the-Pooh: Blood and Honey 2.
The seven gilded episodes of "Hollywood," arriving Friday, introduce a broad cast of would-bes and coulda-beens — black, gay, female — in a vivid but unconvincing ensemble fantasy about ...
Most of all, "Once Upon a Time … in Hollywood" is the first Tarantino film to feel like the product of an older director. Tarantino was the problem child of Hollywood for years, redefining the industry at such a young age, but "OUATIH" could not have been made by the '90s Tarantino (or, at least, it would have been a very different and much worse movie).
Rated: A- • Jul 24, 2023. Actor Rick Dalton gained fame and fortune by starring in a 1950s television Western, but is now struggling to find meaningful work in a Hollywood that he doesn't ...
But somehow the movie doesn't get over the top. It uses the blindness gimmick in fairly obvious ways, and doesn't bring it to another level--to build on the blindness instead of just depending on it. When Waxman confesses his handicap to the wrong woman--a celebrity journalist--because he thinks he's sitting next to someone he can trust, that's ...
IMDb Top 250 Movies. As rated by regular IMDb voters. 1. The Shawshank Redemption. 2. The Godfather. 3. The Dark Knight. 4.
Koimoi is the perfect place for spoiler-free Hollywood movie reviews. Stick to this space for latest English movie reviews & ratings!
Spy x Family Code: White Opens Apr 19, 2024. Egoist Opens Apr 19, 2024. The Three Musketeers: Part II - Milady Opens Apr 19, 2024. Blood for Dust Opens Apr 19, 2024. Villains Incorporated Opens ...
"North Hollywood" strives to convey a similar message, but things get a bit muddled once you actually start watching the movie. Ex-professional skater Ryder McLaughlin — doing all of his own ...
Ma Belle, My Beauty76%. #226. Critics Consensus: Flawed but ultimately compelling, Ma Belle, My Beauty uses the aftermath of a polyamorous relationship to explore the intersections of love and ambition. Synopsis: Lane, Bertie and Fred once shared a polyamorous relationship in New Orleans. Lane loved Bertie, Fred loved Bertie, they had...
Hollywood's quest for inclusivity is both maddening and noble. Forced diversity and Oscar-themed box checking are anathema to the creative…. Read More ». Reviews. Christian Toto 2 weeks ago. 4,954.
Civil War Movie Review Rating: Star Cast: Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Sonoya Mizuno, and Nick Offerman
Get all the latest Hollywood movie reviews. Read what the movie critics say, give your own rating and write your take on the story, music and cast of your favourite Hollywood flick.
Directed by. Michael Caton-Jones. On the basis of the movie's trailer, I was expecting "Doc Hollywood" to be a comedy. And it is a comedy. But it surprised me by also being a love story, and a pretty good one - the kind where the lovers are smart enough to know all the reasons why they shouldn't get together, but too much in love to care.
Star Cast: Jake Gyllenhaal, Daniela Melchior, Conor McGregor, Billy Magnussen, Jessica Williams. Director: Doug Liman. What's Good: Gyllenhaal's performance is electric, and Daniel Melchior ...
A review of 'Abigail' , a new take on Universal's Dracula franchise which sets the Vamipire's 12 year old ballerina daughter against her kidnappers
Rated: C • Jul 13, 2021. In Theaters At Home TV Shows. NORTH HOLLYWOOD follows Michael (Ryder McLaughlin) as he tries to answer the question every high school kid faces when they graduate: What ...
The Hollywood Revue of 1929, or simply The Hollywood Revue, is a 1929 American pre-Code musical comedy film released by Metro-Goldwyn-Mayer.It was the studio's second feature-length musical, and one of their earliest sound films.Produced by Harry Rapf and Irving Thalberg and directed by Charles Reisner, it features nearly all of MGM's stars in a two-hour revue that includes three segments in ...
Ghostbusters: Frozen Empire. AMC River East 21 1 miles. The Fall Guy. Civil War. The Ministry of Ungentlemanly Warfare. Spy x Family Code: White. Kingdom of the Planet of the Apes. Abigail.
59% 134 Reviews Avg. Tomatometer 75% 500+ Ratings Avg. Audience Score In post-World War II Hollywood, aspiring actors and filmmakers will do almost anything to make their showbiz dreams come true ...
Quentin Tarantino Suddenly Abandons The Movie Critic After an Apparent Change of Heart - Report Famed director behind Once Upon a Time in Hollywood reportedly going back to the drawing board.