The animated sequel is as fun and funny as its predecessor, though the increased reliance on live-action exposition is troubling.
Your guide to Asheville's vibrant and diverse movie offerings.
Your guide to Asheville's vibrant and diverse movie offerings.
The animated sequel is as fun and funny as its predecessor, though the increased reliance on live-action exposition is troubling.
Taraji P. Henson stars in this likable but mild comedy with a sentimental streak.
The five worthy live action short films nominated for the Oscar lean in hard to the dark side — with one exception.
A slightly twisted new effort from Pixar leads the field of five animated short films nominated for the 2019 Academy Award and playing at the Grail starting Feb. 8.
Gina Rodriguez is given little to do in this snoozy remake of the acclaimed Mexican thriller.
The triple Oscar nominee is indeed lyrical and captivating, but it’s a far different experience than its Academy Award competitor Roma, another memory movie shot in black and white.
Joe Cornish’s family-friendly King Arthur movie makes a star out of Angus Imrie as “Young” Merlin.
Steven Knight’s new thriller is so bizarre and so far removed from logic that it demands to be seen.
The Asheville Movie Guys dissect the 2019 Academy Award nominations, including the oversights, surprises and the dark horses they’re hoping might pull off an upset.
A committed Steve Coogan and John C. Reilly practically disappear in this thoroughly pleasant biopic of Laurel and Hardy.
Though typically unbreakable in their opinions, the Asheville Movie Guys split on M. Night Shyamalan’s storyline-blending thriller.
Julia Roberts and Lucas Hedges excel in the second powerful family drama from 2018 to take on the opioid crisis.
Mimi Leder grows RBG’s onscreen legacy through crowd-pleasing but largely rote narrative biopic means.
Keanu Reeves is painfully awkward as a scientist who bends the laws of nature to save his family.
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.”
