The Springsteen-centric coming-of-age film isn’t quite on par with its summer 2019 classic rock cousins.
Your guide to Asheville's vibrant and diverse movie offerings.
Your guide to Asheville's vibrant and diverse movie offerings.
The Springsteen-centric coming-of-age film isn’t quite on par with its summer 2019 classic rock cousins.
Cate Blanchett may be one of the few actors who could hold together a movie that’s part farce, part intervention, part melodrama and always entertaining.
This crime flick seems to think it’s a dark comedy but it just comes across as confused and inconsistent.
It’s an engaging and well made movie, despite living in “Movie of the Week” territory, in this case taking on “our broken justice system.”
The adaptation of the beloved dog novel sidesteps potential sappiness with honest, emotional storytelling, plus characters easy to care about and difficult to leave.
The adaptation of the beloved horror books delivers surprisingly strong terror within a PG-13 framework.
Despite strong performances and occasional elite suspense, this Appalachian-set tale of religious fanatics is sadly underdeveloped.
Alex Holmes’ documentary about Tracy Edwards and her all-woman Whitbread Round the World Race team is frequently thrilling as well as inspiring.
David Leitch gifts the series its crispest visuals and most ambitious stunts thus far, but the spin-off remains a big, dumb Fast & Furious movie.
The Asheville Movie Guys head to China for a discussion of Lulu Wang’s sophomore feature.
This shuffling, low-key Southern comedy is a joy and palate cleanser, full of wit and wonderful performances.
Quentin Tarantino’s latest stunner makes expert use of modern cinema’s biggest stars in a landscape fitting of their talents and charisma.
The hagiographic bio-doc on the Nobel-winning author might just be the dose of positivity that humanity needs.
Starring a textbook sharp Jesse Eisenberg, the well-made dark comedy is a difficult film to recommend.
Beyond a fun new Timon and Pumbaa, Disney’s latest remake is little more than another nostalgia-driven cash-grab.
Stuber’s lead actors are talented and appealing, but they’re trapped in a poorly thought out, sloppily executed movie that does them no favors.
You have to respect horror B-movie producer-director Alexandre Aja’s steadfast devotion to his absurd killer alligator story.
Jessie Buckley anchors this honest look at the quest for musical stardom.
Poetic moments define Joe Talbot’s moving portrait of gentrification’s victims in the Bay Area.
Just two films in, is the new Spider-Man series one of the best solo superhero sagas Marvel has yet to produce?
