Showing film results: From 6 to 16
In its 1960s peak, the Hagsploitation (or psycho-biddy) sub-genre gave a second act to classic Hollywood stars like Joan Crawford, Bette Davis and Olivia de Havilland, who found themselves cast as aging psychopaths. It wasn't without controversy, drawing accusations of ageism and misogyny from critics. It's a surprise that our current age of sensitivity has seen a mini-revival of the form with movies like X and The Visit using senility as a cheap, albeit effective way to explain their villains' actions.
I'm not going to suggest that Scream 7 is a return to form for the critically ailing yet commercially triumphant slasher franchise (I don't believe it had much form to begin with), but it's certainly a baby step up from the awfulness of the previous two instalments. That's a bit like saying a soccer team is showing signs of improvement because they only lost 3-0 against their local rivals as opposed to the 5-0 drubbing they suffered the previous season. But I'm a Spurs fan, so I'll take whatever crumb of comfort I can, and the crumb tossed to fans here is the return of Neve Campbell as Sidney Prescott, along with series creator Kevin Williamson, directing for the first time since 1999's Teaching Mrs Tingle, and co-writing with Guy Busick (with a story contribution by Zodiac scribe James Vanderbilt).
Blockbuster screenwriter David Koepp adapts his own 2019 novel Cold Storage for the screen. Koepp's involvement can surely be the only reason the movie has attracted actors of the calibre of Liam Neeson, Lesley Manville and Vanessa Redgrave, as it's a rather uninspired throwback to '80s b-movies, one sorely lacking the raucousness and innovative practical effects work that made those flicks so popular.
With his documentary The Imposter and his narrative feature debut American Animals, writer/director Bart Layton displayed an impressive knack for spinning true crime tales into riveting viewing experiences. His new film, Crime 101, isn't inspired by any real life criminal shenanigans. It's adapted from a novella by Don Winslow, but Layton draws influence from a century of American crime cinema. There is much of Michael Mann here, with stoic male professionals staring out into the ocean from the balconies of their barely furnished beachfront homes, while Layton's ability to make flirtatious doublespeak as erotic as the most explicit sex scene suggests he's studied the classics of film noir. Characters flirt through laying out their material ambitions here in a manner that is far sexier than the unconvincing romping of Emerald Fennell's "Wuthering Heights" or the 50 Shades movies.
With Send Help, screenwriters Damian Shannon and Mark Swift have taken the basic setup of Lina Wertmuller's Swept Away (and its awful Madonna-starring, Guy Ritchie directed remake) and given it a gender swap. Here it's a lowly female employee who finds herself stranded on a desert island with her male boss. Much of Send Help explores the same class and sexual tensions as Wertmuller's film, but with Sam Raimi in the director's chair we know things are going to get a little crazy at some point. And, boy, do they!
With Summer of Sam, Spike Lee suggested that in 1977 there was nowhere crazier than New York. With The Secret Agent, Kleber Mendonça Filho asks Lee to hold his beer. If you thought '77 NYC was something, wait till you experience the Brazil of that year. In opening text, Mendonça Filho describes that era in his nation's troubled history as "a time of great mischief," and The Secret Agent is a gleefully mischievous movie. Like several recent high profile South American films, including last year's Brazilian drama I'm Still Here, it is concerned with the corruption that was rife under the military dictatorship. But just as Lee did for the bankruptcy era Big Apple, Mendonça Filho displays a fond nostalgia for the energy that can be created by dangerous times. There is much in The Secret Agent that is shocking, and it reminds us of the evil that is allowed to flourish in corrupt societies, but it's also heart-poundingly thrilling.
As movie settings go, the backdrop of Atropia is one of the more arresting you'll find. Actress Hailey Benton Gates' feature debut as writer/director is set in Fort Irwin, a sprawling US military training compound in the California desert where young men and women are acclimatised to whichever corner of the world they're set to be deployed. Within Fort Irwin is a 600,000 acre area known as "The Box," which is used to recreate foreign lands, filled with actors performing as natives and insurgents.
Whether it's True Grit, Leon: The Professional, Man on Fire or the recent Dust Bunny, movies love to pair off gruff tough guys with precocious young girls. It was only a matter of time before Jason Statham found himself in such a scenario, which is exactly what we get from director Ric Roman Waugh's Shelter.
Over the past decade, producer/director Timur Bekmambetov's name has become synonymous with the "screenlife" sub-genre. For those who are unaware, screenlife movies play out their narratives on the screens of laptops, tablets, phones and similar devices. Watching someone's desktop for 90 minutes may not sound too exciting but the format has proved surprisingly successful in thrillers like Unfriended, Searching and Profile. Much like the American horror movies of the 1970s took the genre out of its traditional Gothic setting of European castles and transferred it to the US suburbs, screenlife thrillers have a relatable immediacy, their thrills playing out on the sort of screens we stare at every day.
It's ironic that a terminal diagnosis can often result in the recipient getting a new lease of life. Knowing exactly how limited your time is can make you determined to embrace life and go out smiling. Conversely, the loved ones of such people often sink into depression, unable to adopt the positive outlook of the friend, lover or family member they're set to lose, forced to put on a brave face while dying a little themselves.
(NEWARK, NJ) -- New Jersey Performing Arts Center (NJPAC) presents a Spring Season of Jazz with free monthly jazz jams at Clement's Place and two special concert events inside the Victoria Theater. This series, running from September through June, is co-presented by NJPAC's Jazz Advisory Committee and Rutgers University–Newark's Institute of Jazz Studies (IJS). Immerse yourself in the relaxing sounds of jazz music that stimulate the players’ and listeners' minds.
(TEANECK, NJ) -- The award-winning PBS documentary series, INDEPENDENT LENS, presents the launch of the upcoming season of Indie Lens Pop-Up in partnership with the Teaneck International Film Festival and the Puffin Cultural Forum. The season kicks-off on February 4, 2026 with The Librarians and continues through May. The series is free for all but sign up is required.
(NEW BRUNSWICK, NJ) -- State Theatre New Jersey proudly presents The Sound Studio Series, an immersive musical experience that places concertgoers at the very heart of the performance. Held in STNJ's intimate Studio space, limited to just 80 attendees, The Sound Studio Series features a dynamic mix of both classical and rock performances. Each concert concludes with an exclusive post-show meet-and-greet with the artists, offering fans a rare opportunity to connect directly with the performers. Tickets for the series are $20-$30.
(PRINCETON, NJ) -- Morven Museum & Garden's popular speaker series Grand Homes & Gardens returns for 2026. Coinciding with the 250th anniversary of the signing of the Declaration of Independence, Freedom at Home: Telling the Full Story of America's Founding Homes and Gardens examines four estates belonging to five signers of the Declaration: William Paca, Richard Henry Lee, Francis Lightfoot Lee, Thomas Jefferson, and Arthur Middleton.
(OCEAN GROVE, NJ) -- October Ensemble presents the World Premiere of Oh Sh*t, Sherlock! weekends from March 20 to April 12, 2026 at The Jersey Shore Arts Center. The actor playing Sherlock has never seen the script. Hilarity ensues as the rest of the cast tries to keep the mystery on track!
The Makin Waves Song of the Week is "Make This World Stand Still" from Trenton-bred roots/country songstress Lisa Bouchelle's forthcoming album, "Vandals, Thieves & Lovers."
"It's not long enough but it's a pretty good run of shows. I haven't done a tour like this in about three years, even though it feels like yesterday, I haven't done a tour like this in a long time," laughed multi instrumentalist Hunter Hayes shortly before his two recent New Jersey shows at the Newton Theatre and The Stone Pony in Asbury Park. "I am thoroughly looking forward to it, I have been looking forward to doing a tour like this since "Evergreen" started coming together, you know, coming to life; "Evergreen" has been an eight to ten year process, depending on where you want to start, it's a pretty good run of shows and I'm really excited about it."
Lazlo, founder of BlowUpRadio.com (an online radio station based around New Jersey artists), shines a light on some of the many new releases from NJ based musicians each week with this column. This week Lazlo takes a look at new releases by Ali Zanders, Sam Tunkel, Brian Westervelt, Jay Ingstrup, A Halo Called Fred, Damfino, Regency Club, and Night Windows. Plus a look back at "This American Life" by Diego Allessandro.
Here is a look at shows taking place this week along with our featured listings and a look at some upcoming shows. New Jersey Stage offers previews of concerts throughout the Garden State as well as select shows in New York City and Philadelphia areas
