Roger Moore Movie Reviews & Previews
Publish date: 2024-08-30
2.5/4 | | Unfrosted (2024) | Maybe you have to be a baby boomer to get into a Pop Tarts lampoon...not that there's anything wrong with that. - Movie Nation |
2.5/4 | | Force of Nature: The Dry 2 (2024) | More solid and perfunctory than the even more exotic and atmospheric “The Dry.” But the players, the situations and the twists, which are pretty good, recommend it. And Bana as Aaron Falk? Good on ya, mate. Hang on to this franchise. - Movie Nation |
1/4 | | Lola (2024) | Straight-up formula, the sort of down-market Southern Gothic downmarket Tennessee Williams wallow we saw in 174 indie films that preceded it. - Movie Nation |
2/4 | | The Idea of You (2024) | This you or "The Idea of You" love affair requires an elaborate but silly set-up, and once its up on its feet, it never abandons that dawdling, ruminating pace. - Movie Nation |
2.5/4 | | Down the Rabbit Hole (2024) | A twisted Mexican parable...it’s immersive and biting and fun to parse for its deeper meaning, even if it most certainly isn’t for every taste. - Movie Nation |
1/4 | | Checkmate (2024) | Not exciting, not funny, not quite sexy and pretty violent, considering the tone they seemed to be going for, “Checkmate” can’t even manage a draw. - Movie Nation |
| | The Fall Guy (2024) | It isn't exactly the out-of-body experience summer popcorn pic we've been led to expect. The relationship is tentative and cartoonish, the plot more complicated and frustratingly convoluted than it needs to be. - Movie Nation |
2.5/4 | | City Hunter (2024) | Suzuki makes the silly story fun to follow between fights with a giggling, juvenile charisma that is hard to resist. - Movie Nation |
2.5/4 | | Scandal (1950) | It’s not as ambitious as the breakthrough period pieces that made Kurosawa’s reputation. But it’s pretty entertaining and well worth a look. - Movie Nation |
1.5/4 | | Alienoid: Return to the Future (2024) | Don’t try to follow it, don’t attempt to anticipate what’s coming. Just don’t sweat anything like a “detail.” - Movie Nation |
1.5/4 | | I Am Gitmo (2023) | Flat performances of a dull and cliche-ridden script aren't enough to make us forget that Jodie Foster, Kristen Stewart and others got there first, with more money and a more compelling version of this story to tell. - Movie Nation |
2/4 | | Hard Miles (2023) | It passes the time with some pretty sights, fairly worn cliches and semi-serious cycling, a pleasant-enough dramedy that never gets out of the low, easy gears. - Movie Nation |
2.5/4 | | Challengers (2024) | Zendaya is a convincing tennis pro, if a tad slight of build to be a star in the making. And she’s a little less convincing as the mature-for-her-age woman trying to play the angles, find or follow her heart after she finds it. - Movie Nation |
3/4 | | The Pickwick Papers (1952) | You’d be hard-pressed to find a Dickens adaptation that plays as witty and chatty as Langley’s “Pickwick.” And a sharp cast vamps up the broad, colorful and colorfully-named characters which instantly became Dickens’ trademark in this, his debut novel. - Movie Nation |
1.5/4 | | Queen Bees (2021) | It has possibilities baked into it, and little to show for them. - Movie Nation |
1/4 | | Blueberry (2021) | The situations have little drama and no energy to them, the performances are generally lifeless and the title is taken from "Blueberry" lip gloss that somebody fancies. Exciting stuff. - Movie Nation |
2/4 | | Boy Kills World (2023) | There are clever ideas and casting flourishes at the heart of “Boy Kills World.” But in execution, one keeps coming back to the phrase “Less is more,” even in a hyper-violent action comedy where the excess is kind of the point. - Movie Nation |
3/4 | | We Grown Now (2023) | It’s not a gritty recreation of a pretty grim place that was knocked-down for a reason. “We Grown Now” lets us see Cabrini Green and its people through the rose-colored glasses of memory, and reminds us of how universal that sentimentalizing process is. - Movie Nation |
1.5/4 | | Soweto Blaze (2024) | The best praise one can summon up for this South African stoner comedy is “Hope you do better next time.” - Movie Nation |
3/4 | | The Roaring Twenties (1939) | The sound-staginess of it all, with even World War I battlefields recreated indoors, and the sprint-through-the-era nature of the narrative seriously date the picture, dulling some of the impact of the tight performances and crackling dialogue. - Movie Nation |
3/4 | | Disappear Completely (2022) | Is “Disappear Completely” art? Sure. Kind of. Close enough. And if its jolts are few, the chilling tone sells it as one of the smarter horror tales to come along of late, north or south of the border. - Movie Nation |
2.5/4 | | The Ministry of Ungentlemanly Warfare (2024) | A jaunty burlesque of the conventions of the combat commando film. - Movie Nation |
3/4 | | The Three Musketeers: Part II - Milady (2023) | Martin Bourboulon’s two films more than hold their own with Hollywood’s best versions of this classic cloak-and-swordplay mystery, preserving the surprises and adding a few fresh ones to iconic, noble-hearted “All for one, and one for all” heroics. - Movie Nation |
0/4 | | Deadly Justice (2024) | A C or D movie thriller so badly scripted, amateurishly-acted and stridently-scored that you wonder where the money to make it, or make it all better, went? - Movie Nation |
1.5/4 | | The Bricklayer (2023) | It’s not “The Beekeeper,” but Eckhart commits to the part and he and the fights in it are some compensation for a pretty silly plot and clumsy “Will this never end?” story structure. - Movie Nation |
1/4 | | Woody Woodpecker Goes to Camp (2024) | There’s barely enough going on here to distract children into sticking with Woody all the way to the finish. The anarchy is mild-mannered, the sight gags limp and the human interactions produce no laughs and little in the way of charm, either. - Movie Nation |
2.5/4 | | Hardcore (1979) | “Quaint” or not, “Hardcore” has an authenticity about it that keeps the viewer engaged, even as we lose hope that it will ever wholly address the themes Schrader introduces but never truly gets his hands on. - Movie Nation |
2/4 | | Love, Divided (2024) | Cute leads and a catchy rom-com hook aren’t utterly squandered here. But “pleasant enough” is as far as this goes, and that’s pretty bland - Movie Nation |
3.5/4 | | Bad Faith (2024) | The most thorough film examination of this movement and its authoritarian bent - Movie Nation |
2/4 | | The Great St. Louis Bank Robbery (1959) | The plot isn’t all that, but McQueen completists will see his surehanded take on the character, the situations and the pre-destined “big moments,” which he manages to give some edge. - Movie Nation |
2.5/4 | | Stolen (2024) | A striking setting...a seriously basic, if satisfying thriller, with a few new wrinkles to time-tested formulas. - Movie Nation |
3/4 | | Civil War (2024) | Brutal, unblinking and myopic. - Movie Nation |
0/4 | | Beyond the Raging Sea (2018) | Vverybody who made “Beyond the Raging Sea” should run from this “credit” on their resume the rest of their entitled, tone-deaf lives. - Movie Nation |
2.5/4 | | The Lineup (1958) | Workmanlike...tough, brutal and kind of kinky, with a finish that packs a punch. - Movie Nation |
1.5/4 | | No Pressure (2024) | A comedy with no urgency, edge or stakes isn’t much of a comedy, with or without “pressure - Movie Nation |
3/4 | | Alam (2022) | If nothing else, Palestinian filmmaker Firas Khoury’s dramedy about coming of age Palestinian under the Israeli “Alam” (flag) underscores the vast disparity in whose story gets told and whose point of view is almost invisible there. - Movie Nation |
0/4 | | Candy (1968) | Notorious on its release, and widely acknowledged by everyone who was in it, and the various actors’ biographers as well as generations of film scholars, as “the worst film” virtually anyone involved every made. - Movie Nation |
3/4 | | Catching Fire: The Story of Anita Pallenberg (2023) | A fascinating, not-quite-complete portrait of a worldly but unschooled woman with talents finding her way into a life that offered her something more than “housewife” in an age when women’s “power” was too often defined by their allure. - Movie Nation |
2.5/4 | | A Stoning in Fulham County (1988) | Better than your average TV movie...Brad Pitt brings a lovely sensitivity to his few scenes in his first credited role on screen...He generates pity, which considering how loathsome what he and his character's pals did, is saying something. - Movie Nation |
2.5/4 | | A Forgotten Man (2022) | An intriguing if not wholly satisfying dip into a piece of little debated history, Switzerland’s dubious “neutrality” during World War II. - Movie Nation |
1/4 | | Permafrost (2023) | The weather gives the film credibility, which the screenplay strips away, one limp cliche after another. - Movie Nation |
2.5/4 | | Sorcerer (1977) | Despite all the “introduction” the characters are given, we don’t really “know” them and the performances have a “just get through this just like this poor sap I’m playing” doggedness. - Movie Nation |
2/4 | | Rest in Peace (2024) | A sturdy Argentian thriller with too many melodramatic soap operatic touches and twists for its own good. - Movie Nation |
2.5/4 | | Repo Man (1984) | There are stretches when the only thing propelling this forward and giving it any pace is the Tito Larriva and The Plugz Latino punk/surf rock score, which sounds like Dick Dale went Tex Mex. - Movie Nation |
3.5/4 | | Girls State (2024) | If you’re a teenaged girl, or have a daughter or granddaughter, find somebody in the family who has Apple TV+... And if you’ve got ultra conservative relatives, you might want to suggest they tune in, too. Otherwise, they may have no idea what’s coming. - Movie Nation |
3.5/4 | | Brute Force (1947) | The greatest prison break movie from the film noir era. - Movie Nation |
1.5/4 | | The Wild (2023) | A simple-enough-genre thriller whose director is hellbent on sowing confusion and creating narrative chaos for a huge portion of his picture. - Movie Nation |
2/4 | | The First Omen (2024) | Meanders between the cheap-jolts filmmaker Arhasha Stevenson must have been contractually-obligated to provide. The plot is Byzantine, but can’t avoid predictable tropes and situations and “twists” of the genre. - Movie Nation |
1/4 | | The Tearsmith (2024) | Nothing to cry over. - Movie Nation |
3/4 | | Monkey Man (2024) | Dev Patel takes a simple vengeance tale and all but overwhelms it with furious action, flashy camera work and breathtaking editing. And I’m kind of OK with that. - Movie Nation |
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