Owen Gleiberman - celebsbar.com

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29.11.2023 / 17:27

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Michael Keaton Thriller ‘Knox Goes Away’ Sells to Saban Films

Brent Lang Executive Editor Saban Films has acquired U.S. rights to “Knox Goes Away,” a thriller about a contract killer with dementia that wasdirected by and stars Michael Keaton.

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Joaquin Phoenix’s One-Man Cult of Depressive Method-Acting Vanity

Owen Gleiberman Chief Film Critic What is Joaquin Phoenix so unhappy about? And so twitchy? We’ve all seen someone triumph at the Oscars and use their acceptance speech to push a social cause (in fact, it’s almost required). But I’ve never seen a speech quite like the one Phoenix gave in 2020 when he took the best actor award for “Joker.” The film had gotten mixed reviews from critics (what were they so unhappy about?), so the win carried an element of vindication.

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Ridley Scott Tells Off French Critics Who Dislike ‘Napoleon’: ‘The French Don’t Even Like Themselves’

Zack Sharf Digital News Director Ridley Scott is shrugging off the negative reviews coming out of France for his new historical epic “Napoleon,” which stars Joaquin Phoenix as the infamous French emperor and Vanessa Kirby as his wife, Joséphine de Beauharnais. Reviews are all over the place for the biographical drama.

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‘Dashing Through the Snow’ Review: Lil Rel Howery Plays a Hustler Who May Be Santa in One of Those Christmas Trifles That’s Hard to Resist

Owen Gleiberman Chief Film Critic In “Dashing Through the Snow,” Lil Rel Howery has the off-the-cuff funk energy of a hustler who’s so quick that you believe his spiel before you’ve had the chance to outthink it. The whole issue of believing is key to the movie, since Howery plays Santa Claus — or, perhaps, a petty criminal who’s pretending to be Santa Claus. The character calls himself Nick, and he’s dressed as a variation on the old-school Victorian Santa: half-frame glasses, a coat festooned with gold buttons and paramilitary shoulder flaps, a vest of gold finery, along with a few token bits of street cool (pearl earring, two-tone beard, fingerless leather gloves).

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‘Wish’ Review: The New Disney Animated Musical Wishes Upon a Star — and a Brand

Owen Gleiberman Chief Film Critic “When You Wish Upon a Star” is one of those songs, like “Somewhere Over the Rainbow,” that’s bigger than a song. It was first heard, of course, in the 1940 Walt Disney animated classic “Pinocchio,” where it was sung by Jiminy Cricket.

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‘Thanksgiving’ Review: Eli Roth Turns His Slasher-Movie Trailer From ‘Grindhouse’ Into a Real Slasher Movie, and It’s Mostly Slashing Good Fun

Owen Gleiberman Chief Film Critic “Thanksgiving,” a cheerfully debased — or maybe I should say de-basted — slasher film directed by Eli Roth, marks the second time that one of the luscious mock trailers from Quentin Tarantino and Robert Rodriguez’s “Grindhouse” has been spun into a feature film. The first such movie, Rodriguez’s “Machete,” worked better than anyone might have expected; it gave Danny Trejo perhaps the best lead role of his career, and it was tasty enough in its high-zooming vengeful action hyperbole to spawn a sequel. Roth’s trailer for “Thanksgiving,” on the other hand, was a bloody perfect, outrageously transgressive parody of the holiday horror genre that had long gone out of style.

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Is ‘The Holdovers’ Really ‘a ’70s Movie’? Or Is It the New ‘Green Book’?

Owen Gleiberman Chief Film Critic In the most shockingly funny moment of Alexander Payne’s “Sideways,” Miles Raymond, the desperate English teacher and wine aficionado (that is, alcoholic with good taste) played by Paul Giamatti, has just learned that his book was turned down by the publisher he had his hopes pinned on. It’s more than a rejection; it’s the death of his dream. Miles is in the middle a chi-chi Napa Valley wine tasting, and suddenly he’s in dire need of a drink.

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‘Concrete Utopia’ Review: A South Korean Disaster Film Is Like ‘Earthquake’ Meets ‘Lord of the Flies’

Owen Gleiberman Chief Film Critic Ninety-seven times out of 100, a movie makes its moral judgments for us. Yes, there’s a haunting ambiguity to films like “The Conformist” or “Taxi Driver” or “Tár.” But when was the last time you saw moral ambiguity in a genre movie? Even the “Mad Max” films, in their visionary savagery, draw a clean line between nobility and treachery, speed-demon heroism and outlaw selfishness. But “Concrete Utopia” is a dystopian disaster movie with a difference.

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‘The Stones and Brian Jones’ Review: Nick Broomfield’s Dark and Sad Rock Doc About the Lost Boy of the Rolling Stones

Owen Gleiberman Chief Film Critic Rockism, in case you don’t know the term, is the school of thought that holds the noisy “purity” of rock ‘n’ roll to be morally and aesthetically superior to the “corruption” of pop. There are numerous iconic examples of rockism.

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‘The Marvels’ Review: Brie Larson Leads a Trio of Light-Force Heroines in a Skittery Sequel Loaded Down With MCU Baggage

Owen Gleiberman Chief Film Critic In “The Marvels,” Kamala Khan (Iman Vellani), a snarky but beaming-eyed Pakistani-American teenage mutant ninja fangirl, is seated in her bedroom in Jersey City, sketching comic-book panels in which she imagines herself part of a team with her idol, Carol Danvers, a.k.a. Captain Marvel (Brie Larson).

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What Comes After Marvel? Better Hope It’s Not Something Worse

Owen Gleiberman Chief Film Critic Fifty years ago, the release of two movies — “Jaws” in 1975, and “Star Wars” in 1977 — changed movies, America, and the world, not just by giving rise to “the blockbuster mentality” but by ushering in the cinematic age of all-popcorn-all-the-time. There had been antecedents, of course. In hindsight, much of our fantasy culture sprung from the loins of J.R.R.

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‘The Marsh King’s Daughter’ Review: Daisy Ridley Turns Predator as a Woman Raised in the Wilderness by Her Sinister Hunter Father

Owen Gleiberman Chief Film Critic Helena (Daisy Ridley), the title character of “The Marsh King’s Daughter,” is a woman living what she thinks is a safe, comfortable middle-class existence — just like the heroes of “Cape Fear” or “Straw Dogs.” And like those characters, she’s ripped out of her cocoon by a man with a vengeful agenda. In this case, the self-righteous stalker-invader is her father, Jacob (Ben Mendelsohn), who raised her in a cabin in the marshland wilderness of Michigan’s Upper Peninsula, teaching her how to hunt and survive.

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‘Ferrari’ Star Adam Driver Will Attend Camerimage to Accept the Festival’s Actor Award and Introduce the Film

Peter Caranicas Deputy Editor Adam Driver, star of Michael Mann’s “Ferrari,” will travel to Camerimage, the cinematography-oriented film festival, to accept Special EnergaCamerimage Award for an Actor. He will also introduce the film, one of the entries in the Camerimage Main Competition and a prominent awards contender this season. The fest will run in Toruń.

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‘After Death’ Review: A Faith-Based Documentary That Pretends the Afterlife Is Science

Owen Gleiberman Chief Film Critic In the early days of the culture war, science stood on one side and religion on the other. In 1925, the so-called Scopes Monkey Trial hung on whether a Tennessee high-school instructor had violated state law by teaching human evolution. He was on trial, but it was really Charles Darwin who was on trial.

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