After the relatively mainstream horror hat trick of Gretel & Hansel, Longlegs and The Monkey, director Osgood Perkins has returned to the more challenging fare of his earlier work with Keeper. Shot in Canada while production on The Monkey was held up by the 2023 Hollywood strikes, Keeper was quickly devised as a way to keep Perkins busy. And, boy, does it show. It has the stank of all of those half-baked horror movies that were shot in filmmakers' homes during the pandemic lockdown. There's barely enough plot here to fill a 20 minute segment of a horror anthology, never mind a feature. It's a cobbled together collection of horror clichés that only holds our attention due to a committed performance by Tatiana Maslany.
Lucile Hadžihalilović's The Ice Tower is that classic tale of the kid who runs away to join the circus. The circus in this case is the film industry of 1970s France. That was an era when the gulf between adolescence and adulthood wasn't so pronounced, when adults didn't think it strange that they were working alongside kids. It reminds us of how Cameron Crowe became a rock critic while barely out of short pants, or how Spielberg wandered onto a Hollywood backlot and found himself directing Joan Crawford within months. But The Ice Tower is tonally a very different film than Almost Famous or The Fabelmans. This is a dark fable that reminds us there are predators waiting to exploit the dreams of the innocent.
(CAPE MAY, NJ) -- The award-winning, Equity professional East Lynne Theater Company will host a special movie day at the Clemans Theater for the Arts on Saturday, December 13, 2025. The company will offer three opportunities for people to ring in the holiday season with Disney's "The Muppet Christmas Carol."
"It's alive!" Well, barely. Guillermo del Toro's pointless adaptation of Mary Shelley's Frankenstein is Robert Eggers' Nosferatu all over again, a sumptuous but redundant retelling of a tale told 200 times too many. The writer/director has been trying to get this film made for three decades, and anyone familiar with his career knows of del Toro's fondness for monsters. But aside from his trademark over the top violence, del Toro has brought nothing new to the table here. His Frankenstein is twice as long as James Whale's and over an hour longer than Terence Fisher's, but it lacks the depth of either of those classics.
(NEW YORK, NY) -- Little Steven's Underground Garage, the world's only 24/7 rock & roll radio format dedicated to the coolest music ever made, has announced the launch of a brand-new weekly program: Robbo At The Movies, championing music and movies together, hosted by Robert Cotto of Renegade Nation and Wicked Cool Records.
After the relatively mainstream horror hat trick of Gretel & Hansel, Longlegs and The Monkey, director Osgood Perkins has returned to the more challenging fare of his earlier work with Keeper. Shot in Canada while production on The Monkey was held up by the 2023 Hollywood strikes, Keeper was quickly devised as a way to keep Perkins busy. And, boy, does it show. It has the stank of all of those half-baked horror movies that were shot in filmmakers' homes during the pandemic lockdown. There's barely enough plot here to fill a 20 minute segment of a horror anthology, never mind a feature. It's a cobbled together collection of horror clichés that only holds our attention due to a committed performance by Tatiana Maslany.
Lucile Hadžihalilović's The Ice Tower is that classic tale of the kid who runs away to join the circus. The circus in this case is the film industry of 1970s France. That was an era when the gulf between adolescence and adulthood wasn't so pronounced, when adults didn't think it strange that they were working alongside kids. It reminds us of how Cameron Crowe became a rock critic while barely out of short pants, or how Spielberg wandered onto a Hollywood backlot and found himself directing Joan Crawford within months. But The Ice Tower is tonally a very different film than Almost Famous or The Fabelmans. This is a dark fable that reminds us there are predators waiting to exploit the dreams of the innocent.
"It's alive!" Well, barely. Guillermo del Toro's pointless adaptation of Mary Shelley's Frankenstein is Robert Eggers' Nosferatu all over again, a sumptuous but redundant retelling of a tale told 200 times too many. The writer/director has been trying to get this film made for three decades, and anyone familiar with his career knows of del Toro's fondness for monsters. But aside from his trademark over the top violence, del Toro has brought nothing new to the table here. His Frankenstein is twice as long as James Whale's and over an hour longer than Terence Fisher's, but it lacks the depth of either of those classics.
Given its subject matter, you might expect writer/director James Vanderbilt's Nuremberg to be another awards bait snoozer, the sort of film schoolkids will be forced to sit through when their History teacher wants to catch up on correcting homework. But Vanderbilt is the screenwriter responsible for David Fincher's Zodiac, arguably the best movie based on real events to come out of Hollywood this century. By narrowing his focus on two men, Vanderbilt has crafted a riveting film that grounds a global spectacle in the brief relationship between these two figures.
"I know who you are." "That makes one of us." That exchange between a star struck car salesman and Bruce Springsteen gets to the heart of writer/director Scott Cooper's music biopic Springsteen: Deliver Me from Nowhere. Like most good biopics, Cooper's film narrows its focus to a specific chapter in its subject's life. In this case it's 1981 and Springsteen's writing and recording of 'Nebraska', considered by many as The Boss's greatest work.
