All Film Reviews

Werckmeister Harmonies (Not Rated)

“Space travel makes you realize just how small we really are. When you see Earth as a tiny blue speck in the infinite reaches of space, you have to wonder about the mysteries of creation. Surely we’re all part of some great design, no more or less important than anything else in the universe. Surely […]
X-Men: First Class (PG-13)

G.K. Chesterton’s essay “Vengeance” suggests that although modern law is highly refined, it can evolve into a system devoid of any passion and become a machine which unreflectively punishes people. “The evil in our modern law is not one of barbaric passions, but one of passionless routine. The trouble is not that a lawyer really […]
A Wrinkle in Time (PG)

I have not read Madeleine L’engle’s A Wrinkle in Time, which is a shame as I imagine it is a much better work than Ava DuVerney’s film by the same name. Of course, “See Spot Run” would also be a better work than Disney’s latest live-action effort which manages to be so devoid of merit, personality, and plot that it will be hard to write much about it
No Rating

The Shape of Water (R)

Note To Readers: This review contains a frank investigation of a perverse film, and necessarily must describe some its perverse content and ideas. Given the film’s import and influence, the editor commends this review to readers who are old enough to have seen it. Younger readers who have not seen the film will not likely benefit from […]
Phantom Thread (R)

Paul Thomas Anderson is one of the very best American filmmakers working today, and quite possibly the most interesting. His mastery of the craft is nearly unparalleled, placing him on that elusive, immortal plane where the likes of the Coen brothers, Martin Scorsese, and Steven Spielberg currently reside. Yet what sets him apart, even among such esteemed company, is how perplexingly eclectic he is.
Lady Bird (R)

There are a great deal of moments in Lady Bird that made me feel as though I were looking into a mirror, nostalgic for a past that was incredibly close to Lady Bird’s. Those moments weren’t always the funny ones, to be perfectly honest. Those moments weren’t always the funny ones, to be perfectly honest. I distinctly remember squabbles with my parents, feeling as though I were independent enough at seventeen not to need their approval.
Black Panther (PG-13)

Recently – within the last three months, let’s say – the latest entry in a blockbuster franchise with at least ten theatrical releases to its name (and a million more well on the way) was released. This new film received near-universal critical praise, with many viewers ecstatically describing it as a departure from previous installments […]
American Graffiti (PG)

American Graffiti is arguably George Lucas’ masterpiece, not necessarily because it’s any more or less culturally significant or cinematically innovative than Star Wars, but simply because it’s Lucas’s most personal film. Here is a piece of his life, adapted into an ensemble piece that explores his own personal sense of nostalgia in a surprisingly bittersweet and grounded way.
Indiana Jones and the Last Crusade (PG-13)

What makes a film, or anything for that matter, good? Perhaps I should answer that in a different way, since the word “good” in the English language has two broad but distinct definitions – the first moral, the second beneficial. Both of these are valuable as qualities in filmmaking, but what I mean to ask specifically is how do we, from our various frames of reference, discern value in a particular film?
The Lady from Shanghai (Not Rated)

Orson Welles’ The Lady from Shanghai begins with the sea, roiling and foaming beneath the opening credits. Many films noir are laden with existential anxieties; indeed, fatalism and cynicism are as commonplace in the genre as stylized lighting, bantering innuendoes, and convoluted crimes.
TRON: Legacy (PG)

TRON: Legacy can hardly be called a great film, but it made quite the impression on me when I first saw it on opening night back in December of 2010, and I have been making excuses for it ever since. Emerging from the theater, I might even, in my adolescent fervor, have described it as […]
John Wick: Chapter 2 (R)

Early in John Wick: Chapter 2, the titular assassin (Keanu Reeves) somberly places his weapons in a box, puts the box in a hole in his basement, and covers it with wet concrete. The action suggests an addict burying his stash, and symbolizes his intent to leave his world of violence and live a new […]
Valerian and the City of a Thousand Planets (PG-13)

Recently, FilmFisher editor Joshua Gibbs wrote a piece defending film critics against a common accusation: “This film was just plain fun. Why don’t you snobby film critics get it?” I stand by Gibbs’ argument in that piece, and would like to make an addendum: it is difficult to make a film that is truly fun. […]
Dunkirk: The Better Part of Valour (PG-13)

There is an unspoken understanding among filmmakers that war is hell and that war films must convince their audiences of it. And it isn’t a controversial notion. The guy who exits the theater nodding sagely and remarks, “Man, war is hell,” can’t expect much pushback from his buddies. Christopher Nolan’s Dunkirk contributes to the genre […]
Wonder Woman (PG-13)

In the Pensées, Pascal writes, “I blame equally those who decide to praise man [and] those who blame him… I can only approve those who search in anguish.” Pascal’s anguish stems from man’s contradictory nature: caught inescapably between the extremes of wretchedness and greatness, he is neither wretched enough to be a beast nor great […]
Rogue One: A Star Wars Story (PG-13)

Gareth Edwards’ Rogue One: A Star Wars Story feels nothing like any other Star Wars film. At first, that’s jarring, even off-putting. Once you settle into its particular rhythm, it’s exhilarating. There is no opening crawl of yellow text setting up the story. There are no Kurosawa-esque wipes to transition between scenes. The story isn’t […]
Jackie (R)

The aftermath of the assassination of John F. Kennedy is shown twice in Pablo Larraín’s Jackie. The first time the camera glides along behind the motorcade before swooping stylishly overhead to offer a brief, obscured glimpse at the President’s dead body slumped over in his wife’s lap. Then it is over. The presentation is slick, […]
Snowden: Propaganda and the Mundane Beasts It Makes (R)

Oliver Stone is one of the few directors whose auteurism is his ideology. While he has hit a few correct notes (mostly in the Adagio for Strings sequences of Platoon) there is very little about his directorial style—no signature montages or lengthy tracking shots—that say “Oliver Stone” the way that his completely misinformed takes on […]
Doctor Strange (PG-13)

Scott Derrickson’s Doctor Strange is the latest installment in the rapidly expanding Marvel Cinematic Universe, a collection of interconnected superhero movies that, to many viewers, are starting to feel like indistinguishable products. Doctor Strange sidesteps and invites that complaint in interesting ways. The broad strokes of the story here are par for the course, with […]
A Gritty Goodness: The River Thief (Not Rated)

The typical hero of a faith-based film measures their own satisfaction with the ending by the metric ton. If you stuck a teaspoon in the ending of the average Christian film, you’d pull it out dripping with enough sweet goo to give everyone in the world a mouthful of cavities. We don’t merely like redemption. […]