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Friday, May 13, 2016
Movie Reviews: Money Monster, The Darkness, Dough, The Man Who Knew Infinity, Too Late
Posted By Scott Renshaw on May 13, 2016, 9:00 AM
The post-Civil War weekend finds new wide releases mostly staying out of the way of the Marvel juggernaut, and a few lesser offerings among independent releases.
Director Jodie Foster tries to throw genre elements at a tale of corporate avarice in Money Monster (pictured), but winds up with a morality play that only plays to those seeking a Bernie Sanders stump speech. An Orthodox Jewish baker in London and his Sudanese Muslim new apprentice form a feel-good buddy bond in Dough, which has its heart (if not its art) in the right place). Writer/director Dennis Hauck's '70s-private-eye-drama-by-way-of-'90s-Tarantino-ripoffs drama Too Late gets a little gravitas from John Hawkes' hangdog presence, but otherwise offers only the superficial interest of its self-conscious long takes.
Eric D. Snider dismisses The Darkness as merely the latest tired iteration of the PG-13 Horror Template that has been kicking around for years now. The biopic of a circa-1910s Indian mathematician goes strictly by the numbers in The Man Who Knew Infinity.
In this week's feature, MaryAnn Johanson lays out the findings of her year-long Where Are the Women? project, and shows there's no excuse for an industry still lagging on portraying half the population with equal complexity.
Director Jodie Foster tries to throw genre elements at a tale of corporate avarice in Money Monster (pictured), but winds up with a morality play that only plays to those seeking a Bernie Sanders stump speech. An Orthodox Jewish baker in London and his Sudanese Muslim new apprentice form a feel-good buddy bond in Dough, which has its heart (if not its art) in the right place). Writer/director Dennis Hauck's '70s-private-eye-drama-by-way-of-'90s-Tarantino-ripoffs drama Too Late gets a little gravitas from John Hawkes' hangdog presence, but otherwise offers only the superficial interest of its self-conscious long takes.
Eric D. Snider dismisses The Darkness as merely the latest tired iteration of the PG-13 Horror Template that has been kicking around for years now. The biopic of a circa-1910s Indian mathematician goes strictly by the numbers in The Man Who Knew Infinity.
In this week's feature, MaryAnn Johanson lays out the findings of her year-long Where Are the Women? project, and shows there's no excuse for an industry still lagging on portraying half the population with equal complexity.
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