Stephen Cone’s ‘Princess Cyd’ is a ridiculously well-meaning venture, but blandness and a clanging lack of subtlety drain it of any impact.
Author Archive | G Clark Finfrock
James Franco makes ‘The Disaster Artist’ an explanation for and homage to ‘The Room,’ while directing himself to his best role.
Ruben Östlund’s ‘The Square,’ the latest film to win the prestigious Palme d’Or at the Cannes Film Festival, is a vexing, fascinating intellectual exercise.
A misfire overall, Robin Swicord’s ‘Wakefield’ does boast an intriguing premise and emotional Bryan Cranston performance.
Andrey Zvyagintsev’s ‘Loveless’ is at once a powerful tale of a missing child, and an indictment of an inhospitable, unfeeling society.
‘Girls Trip’ isn’t great art, but it’s a perfectly-acted, uproarious comedy that’ll have you laughing so often your sides will hurt.
Though a strong cast tries, awful dialogue and direction make Dustin Guy Defa’s mumblecore disaster ‘Person to Person’ one of the worst films of 2017.
‘Three Billboards Outside Ebbing Missouri’ tells a relevant story with a stellar cast. It may feel a bit haphazard, but that shouldn’t deter you.
Kathryn Bigelow’s ‘Detroit’ is a gripping reenactment of a chilling event, but its power is somewhat undermined by a lack of focus.
Writer/director Kogonada’s debut ‘Columbus’ is a beautiful-looking film that manages to shortchange its setting, story, and characters.
‘Coco’ is a typically entertaining and visually-striking film from Pixar, though it lacks the magic of the studio’s best efforts.
‘Beach Rats’ tells a familiar story in a familiar style; a strong performance from newcomer Harris Dickinson helps, but doesn’t make it soar.
Mike White’s ‘Brad’s Status” provides a wonderful Ben Stiller vehicle that will have you cringing and laughing at the same time.
Though its style hinders emotional engagement, Aki Kaurismäki’s ‘The Other Side of Hope’ is a cutting, funny critique of Europe’s refugee crisis.
Sean Baker’s ‘The Florida Project’ is a shapeless and interminable examination of insufferable characters, and mostly torturous to sit through.
Greta Gerwig’s ‘Lady Bird’ has the bones of a standard-issue coming of age tale, but the meat of a great cast makes it a film worth seeing.
Walter Hill’s ‘The Assignment’ is everything you want pulp fiction to be: classless, tasteless, vulgar, tawdry—and inescapably entertaining.
‘Song to Song’ is, well, a Terrence Malick film—general audiences will generally hate it, but more adventurous filmgoers could have their lives changed.
If ‘Angel’s Egg’ is an unreviewable film, then how does a critic go about reviewing it? Astonishingly, G Clark gives it a go.
‘Ghost in the Shell’ is a thoughtful and philosophical blockbuster, like a big-budget art film, with a fantastically precise ScarJo performance.