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variety.com

10.05.2024 / 04:57

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‘The Last Stop in Yuma County’ Review: An Accomplished Pressure-Cooker Thriller That’s Like a Tarantino-Fueled Noir, 30 Years Later

Owen Gleiberman Chief Film Critic Thirty years ago (in fact, it will be 30 years to the day this Sunday), Quentin Tarantino’s “Pulp Fiction” had its world premiere at the Cannes Film Festival, and cinema was never the same. Tarantino’s 1994 epic-crime-pretzel-meets-pop-monologue masterpiece smashed open one door after another, and an inevitable result is that we saw a great many movies in the ’90s that were Tarantino knockoffs — underworld capers of baroque violence and exuberant scuzz, movies that not only bent the dirty hedonism of film noir into new shapes but did it with a special brand of self-consciousness, a “Look at what we’re up to!” effrontery.

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Chris Pine’s ‘Poolman’ Got ‘F—ing Panned’ So Much That He Thought ‘Maybe I Did Make a Pile of S—‘; But He Refuses to Accept That: ‘I Love This Film’

Zack Sharf Digital News Director Chris Pine earned some of the worst reviews of his career for “Poolman,” a Los Angeles-set comedy mystery in the vein of “Chinatown” that Pine directed, co-wrote and starred in. The movie is Pine’s feature directorial debut, but it got eviscerated by critics when it premiered at last year’s Toronto International Film Festival. Variety critic Owen Gleiberman called it an “absurdist disaster,” for instance.

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‘Kingdom of the Planet of the Apes’ Review: The Franchise Essentially Reboots with a Tale of Survival Set — At Last — in the Ape-Ruled Future

Owen Gleiberman Chief Film Critic “Kingdom of the Planet of the Apes” opens with Caesar lying in state, surrounding by a horde of mourning chimps, as his dead body is covered in flowers and ritually set on fire. The movie then cuts to the jungle, where a title informs us that it’s “many generations later.” In other words, the tale we’ve been watching in the last three “Apes” films — “Rise of the Planet of the Apes” (2011), “Dawn of the Planet of the Apes” (2014), and “War for the Planet of the Apes” (2017) — is now ancient franchise history.

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The Beatles’ ‘Let It Be’ Film Is Still Sad, Even After a Vibrant Peter Jackson Restoration

Jem Aswad Executive Editor, Music (This article is unintentionally a counterpoint to my colleague Owen Gleiberman’s considerably more-positive take on the Beatles‘ “Let It Be” film, restored by Peter Jackson and released today on Disney+.) When I was a Beatles-obsessed seven-year-old, my mother, in an act of selfless parental love, took me to a Fab Four film festival: “Hard Day’s Night,” “Let It Be,” “Yellow Submarine” and “Help!,” one after the other. My mom was a cool assistant professor of English at the local university who dressed “hip,” loved music and picked up some listening habits from her students.

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Restored and Rereleased, the Beatles’ ‘Let It Be’ Is Revealed to Be the Joyful Documentary It Always Was

Owen Gleiberman Chief Film Critic I first saw “Let It Be” when I was a kid, in the summer of 1970, just weeks after it was released. My family was coming off one of those “Vacation” road trips. During the miles of driving, we listened to Top 40 radio, which meant that several times a day I got to hear “The Long and Winding Road,” which I thought was the most beautiful song I’d ever heard.

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‘Psycho Goreman’ Director Steven Kostanski’s ‘Frankie Freako’ Set for Cannes Market Sales Launch by Raven Banner (EXCLUSIVE)

Naman Ramachandran Raven Banner Entertainment will launch international sales at the Cannes Film Market for Steven Kostanski‘s latest feature “Frankie Freako.” Kostanski’s previous feature “Psycho Goreman” premiered at SXSW in 2020 and gathered a cult following worldwide. Reviewing the film for Variety, critic Owen Gleiberman described the film as “‘The Toxic Avenger’ remade by the Robert Rodriguez of ‘Spy Kids.'” “Frankie Freako” is described by Raven Banner as Kostanki’s homage to the practical-FX-driven monster horror-comedies of the 1980s like “Gremlins 2” and “Ghoulies 3: Ghoulies Go to College.” It tells the story of workaholic yuppie Conor Sweeney (“The Editor,” “Father’s Day”) whose perfect life is turned upside down when he accidentally unleashes a trio of tiny trouble-makers into his home, led by the maniacal rock-n-roll party monster Frankie Freako.

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‘Unfrosted’ Review: Jerry Seinfeld Directs and Stars in a Biopic of the Pop-Tart. It’s Based on a True Story, but It’s Knowingly Nuts

Owen Gleiberman Chief Film Critic “Unfrosted,” the first movie directed by Jerry Seinfeld (who also stars in it), is an agreeably flaked-out piece of surrealist vaudeville. It’s a comedy about the creation of the Pop-Tart, back in 1963. That makes it sound like part of the new wave of mass-market product biopics — movies like “Flamin’ Hot” (about the creation of Spicy Cheetos), “Blackberry” (about the invention of the smart phone), and the one I think of as the “Citizen Kane” of the genre, “The Founder,” with Michael Keaton as Ray Kroc, the man who changed the world by taking over and franchising McDonald’s.

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The 10 Best Love Triangle Movies

Owen Gleiberman Chief Film Critic “Challengers,” Luca Guadagnino’s enthralling sports opera about three great-looking tennis stars who trade partners, is the latest movie to feature that time-honored configuration, the love triangle. And make no mistake: This one is complicated. It’s no mere either/or thing.

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‘Boy Kills World’ Review: Bill Skarsgård Plays a Deaf-Mute Avenger in an Action Film So Ultraviolent It’s Like ‘John Wick’ Gone ‘Clockwork Orange’

Owen Gleiberman Chief Film Critic In “Boy Kills World,” Bill Skarsgård has burning eyes and model cheekbones, sinewy arms popping out of a dirty red athletic vest, and a feral pout that make him look like Jean-Claude van Damme crossed with Lou Reed. He plays a deaf-mute avenger, known only as Boy, who kills people in insanely violent ways. Yet through it all, the character retains his innocence.