The charming English-language remake of The Intouchables merits more respect than it’s bound to receive.
Your guide to Asheville's vibrant and diverse movie offerings.
Your guide to Asheville's vibrant and diverse movie offerings.
The charming English-language remake of The Intouchables merits more respect than it’s bound to receive.
Barry Jenkins’ James Baldwin adaptation may very well be the only film of 2018 that can be called “beautiful.”
See Alfonso Cuarón’s Best Picture contender on the big screen while you can.
Not nearly as bad as advertised, the reunion of Will Ferrell and John C. Reilly nonetheless can’t quite be called “good.”
Bruce and Edwin loop in honorary Asheville Movie Guy, Christopher Oakley, for a roundtable discussion of Adam McKay’s Dick Cheney biopic.
True to form, the year’s most joyful film is practically perfect in every way.
Peter Jackson’s colorized WWI documentary is visually extraordinary, but fairly dry in other regards.
Robert Zemeckis’ effects-heavy hybrid builds on Mark Hogancamp’s psychology as introduced in the acclaimed documentary Marwencol.
The ‘80s-set Transformers prequel is one of the year’s most emotionally manipulative films.
The fact-based cross between House of Cards and Game of Thrones never quite reaches the heights of those stylistic inspirations.
Hirokazu Kore-eda’s Palm d’Or-winning drama further cements his status as the Japanese Mike Leigh.
Natalie Portman and young Raffey Cassidy shine in Brady Corbet’s unusual celebrity satire — or whatever it’s supposed to be.
It takes a particular talent to make an acting impact in a Clint Eastwood film. Dirty Harry himself is not one of them.
Mortal Engines will sink into oblivion having left barely a mark on the history of moviemaking, not so much rejected by film audiences as entirely ignored.
The latest web-slinger adventure furthers the argument for animation being the best way to enact grand superhero set pieces.
If you’re going to make a costume drama in 2018, you might as well make it weird.
Runner-up as best film of the year at this week’s Los Angeles Film Critics Association awards, Burning is long, leisurely and worth the investment of time.
Julian Schnabel’s intrusive van Gogh biopic is a less creative take on much of the same information already explored in Loving Vincent.
