A Most Violent Year Never Quite Summons Rough Old New York

The world needs fewer tasteful movies about distasteful things. It definitely doesn’t need J.C. Chandor’s A Most Violent Year, in which Oscar Isaac plays a nouveau-riche heating-oil baron in early-1980s New York who’s striving to maintain his principles amid industry corruption and generally scummy behavior. Isaac’s Abel Morales skulks through…

Kevin Costner Is Fine, but Race Drama Black or White Is Cartoonish

There are few hard-and-fast rules in screenwriting, but here’s one we can probably agree on: Something has gone wrong if your crowd-pleasing family drama asks audiences to hope a child’s father proves to be a crackhead. That’s one baffling turn in Mike Binder’s Black or White, a movie about race…

This Year’s Oscar-Nominated Shorts Are Best When True

While many of Oscar’s big shots clock in at more than two hours (led by favorite Boyhood, at 165 minutes), some filmmakers remain committed to telling unique and inventive stories that don’t require viewers to set aside an entire night to enjoy. The Academy Award-nominated short films — which, for…

Russia, a Whale, and a Way of Life Moulder in Leviathan

Where we come from defines us more than we even realize: That’s the idea implicit in Andrey Zvyagintsev’s somber, sturdily elegant drama Leviathan, in which a mechanic who has lived on the same parcel of land all his life — as his father and grandfather did before him — resists…

Geraldine Chaplin, Star of Nashville, Remembers Robert Altman

This weekend at the Coral Gables Art Cinema, there was a double feature of films starring silver screen legend, Geraldine Chaplin. On Saturday, David Lean’s Doctor Zhivago screened for its 50th anniversary, and on Sunday, it was Robert Altman’s turn. His beloved Nashville played to a nearly-full house, 40 years…

The Five Most Dramatic Telenovelas Filmed in Miami

Miami has been the fictional home of some of television’s most iconic television shows: The Golden Girls, Crockett and Tubbs, and Dexter all lived in the Magic City. But if those are the only shows you can think of, then you’re missing an entire genre of amazing television filmed in…

Miami Filmmaker Kenny Riches on His Selection to Sundance

When Miami-based filmmaker Kenny Riches got the call from the Sundance Film Festival, he could barely hide his excitement from close friend Robert “Meatball” Lorie. Riches’ film, The Strongest Man, had been accepted and Lorie was the film’s lead. They were both working on building the VIP section at Design…

If Mortdecai Had a Time Machine, It Could Be 1965’s Top Comedy

Mortdecai is creeping into theaters with the flushed shame of a debutante who expects to be pelted with tomatoes. It’s a pity. In 1965, Mortdecai would be the hit of the year. Director David Koepp whips through this pop-colored caper about crooked art dealer Charlie Mortdecai (Johnny Depp) — one…

Films to Check Out at the Miami Jewish Film Festival 2015

We’ve already written about our excitement over the films at the Miami Jewish Film Festival and interviewed festival director Igor Shteyrenberg, but we haven’t had a chance to talk about what we’re looking forward to, as well as what we’ve checked out and loved. With MJFF already underway, it’s about…

Jennifer Lopez’s The Boy Next Door Is as Nuts as You Hope It Is

The most pleasurably ludicrous highlight of The Boy Next Door comes a half-hour in, before the sex and murders and something-is-in-the-mirror-behind-her! jolts that stud the film like Flavor Crystals. The high-school English teacher played by Jennifer Lopez is dazzled by a gift from the handsome student (Ryan Guzman) who has…

Pacino Stares Down the End in The Humbling

There’s something bracingly honest about The Humbling, Barry Levinson’s movie about a 67-year-old Shakespearean actor, played by Al Pacino, who, after being struck with crippling anxiety, gets his mojo restored — some of it, anyway — by a manipulative muse (Greta Gerwig). Based on the 2009 Philip Roth novel of…

Jennifer Aniston Grieves, but Cake‘s Script Lets Her Down

Each year, screenwriters kill off enough offscreen children to fill a Chuck E. Cheese’s. A dead son or daughter gives a movie the illusion of depth plus an easy explanation for whatever the script ladles on the surviving parents. Binge-drinking? Nymphomania? Sudden bouts of break dancing? Blame the wee coffin…