The false feel-good movie of the holiday season realizes its low ambitions with the puzzling assumption that something profound has been achieved.
Your guide to Asheville's vibrant and diverse movie offerings.
Your guide to Asheville's vibrant and diverse movie offerings.
The false feel-good movie of the holiday season realizes its low ambitions with the puzzling assumption that something profound has been achieved.
The Swedish fairy tale often feels like a singular creation, but can’t quite sustain its initial magic.
Paul Dano’s directorial debut starts off in extraordinary fashion before devolving into a fairly rote domestic drama.
The documentary on the Santa Fe art collective is an entertaining portrait of its history and creations, but skimps on its members’ collaborative dynamics.
The delightful return to the wizarding world of J.K. Rowling is the rare sequel that might be better than its predecessor.
Joel Edgerton cements his reputation as a talented filmmaker with help from a gifted ensemble.
The Asheville Movie Guys have professional differences when it comes to Steve McQueen’s female-led heist film.
Steampunk imagery and surprisingly creepy elements vault this CGI-laden fantasy above typical genre fare.
The latest take on the Dr. Seuss classic is a colossal waste of time and talent.
The Asheville Movie Guys follow Steve Carell and Timothée Chalamet on a fact-based tale of addiction.
The Asheville Movie Guys rock the new Queen biopic and discuss whether its creators are the genre champions of the world or if their movie bites the dust.
Luca Guadagnino’s re-whatevering of the Argento cult classic is a spectacular failure on nearly every conceivable front.
The Asheville Movie Guys recently watched all four versions of A Star Is Born and now present their own mini-awards show, as the four movies compete for Best Song, Best Actress, Best Picture and more.
The delightful documentary about young people poised to better the world is bound to leave viewers of all ages optimistic about the future.
Jonah Hill’s directorial debut is a promising but all too brief look at rites of passage in a bygone era.
The Asheville Movie Guys join Robert Redford on his alleged final heist.
The timely, well-made adaptation of the best-selling novel plays like a YA cousin of Blindspotting, down to several parallel scenes.
Ike Barinholtz takes a plausible, Purge-like premise of governmental overreach and filters it through unappealing, ultimately toothless means.
Will the confrontation between a now-weaponized Laurie Strode and the still unkillable Michael Myers provide a Home Alone of horror?
