new movie review

Linda Fenstermaker’s Films Insist On Taking Quiet, Gentle Things Seriously

Shot on warm, lo-fi 16mm film, “Here I Breathe” dwells in sentimental images. But for all its concern with pretty scenery, it doesn’t romanticize beauty, and to dismiss “Here I Breathe” simply as gooey sentiment would miss what makes it so affecting.

In “Good Time,” Robert Pattinson Plays A Disturbingly Hyperactive Bank Robber

Amid the chaos, Pattinson as Constantine cuts a fascinating figure. Constantine’s lack of control is disturbing, but his ability to improvise a next move is intoxicating through the tension.

In “Bad Exorcists,” Three Film Nerds Inadvertently Get Their Classmate Possessed

In Bad Exorcists, a possessed high school girl feverishly writhes in bed. Oblivious to their daughter’s demonic state, her parents tell her they’re leaving for a night out and place a bottle of green juice on her bedside table—we all know where this is going.

“Detroit” Depicts The Harrowing “Algiers Incident” Police Murders

We’re in a war zone, but it’s Detroit, not Baghdad. Looting and destruction are inflicted by some, not all, and there are good cops and monstrous cops, and it’s not easy to tell what’s what.

“Atomic Blonde” Is Almost Like A Lengthy and Brutal Cologne Ad

Leitch’s specific brand of violence—an instantly recognizable modern dance borne of the moment when swaggering deliberation makes way for blood-dimmed reflex—blends effortlessly with the faintly ridiculous formalism of spy movies.

“13 Minutes” Is About A Man Who Almost Killed Hitler

Sadly, Elser failed and was captured, which forces Hirschbiegel to dwell on his protagonist’s suffering at the hands of the Gestapo—most memorably in a scene where he vomits after being strapped to a metal cot and flogged. Yet, despite the savage torments Georg endures, you can’t look away.

A Portland Filmmaker Takes An Acid-Tinged Journey Into Saharan Folklore

Like any good hallucinatory experience, it takes Zerzura a bit of time to kick in. But when it does, what begins as a relatively straightforward hero’s quest suddenly transforms into a striking, surreal and utterly gorgeous symphony of bizarre, cerebral imagery.

Mandy Moore Fights Sharks and Keanu Reeves Leads A Post-Apocalyptic Cult This Week In New Movie Reviews and Portland Film Events

It's a gory week in movie openings—shark attacks, murder plots and dismemberment abound.

"The Hero" Gives Portland-Raised Actor Sam Elliott A Chance To Shine, But Doesn’t Answer Its Own Questions

The film somberly nods along through blue-filtered, artfully framed shots of the back of Elliot’s luxurious steel-gray mane and several visits to the beach, where waves recede into the Pacific to the sounds of plinky-plonk piano music.

"The House on Coco Road" Remembers A Short-Lived Afrocentric Utopia

When American filmmaker Damani Baker talks about the power of meeting his “first black president,” he isn’t talking about Obama. He means Maurice Bishop, who led a bloodless coup on the tiny Caribbean island of Grenada and, for a hot minute in the early ’80s, worked to turn it into an Afrocentric socialist paradise.

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