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  • Stowaway

    Stowaway

    ★★★

    59/100

    A.V. Club review. Gratifyingly low-key and doggedly realistic (apart from the premise's implausibility), but also very familiar—Gravity meets The Martian, basically.

  • Eureka

    Eureka

    ★★★½

    62/100

    Third viewing, last seen at the 2000 Thessaloniki Film Festival. Wasn't quite as impressed this time, which I worry may be due at least in part to a combination of (a) watching it on a TV set (perhaps not ideal for 2.35 sepiatone) and (b) knowing that Aoyama hasn't made an especially notable film in the two decades since. (He's worked steadily, but e.g. Cannes very quickly lost interest; the only other one I've seen, Eli, Eli, Lema Sabachthani?,…

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  • Moonlight

    Moonlight

    ★★½

    This review may contain spoilers. I can handle the truth.

    49/100

    Okay, here we go: Why I think the year's most universally acclaimed film is sorta kinda not really very good. Took a second look to be sure, both because I'm always open to the possibility that I'm wrong and because I served on a festival jury with Jenkins a couple of years ago and liked him enormously, so take no pleasure in being a contrarian here. Had exactly the same reaction, alas. In descending order of importance:

    • I'm generally…

  • Sicario

    Sicario

    ★★★★½

    This review may contain spoilers. I can handle the truth.

    83/100

    Second viewing, no change. Having now professionally reviewed this film four times (for The Dissolve from Cannes, and then for the A.V. Club, the Nashville Scene, and the Las Vegas Weekly), I thought I had nothing left to say, especially since I made a point of addressing the most common criticisms. But since a bunch of folks are praising Adam Nayman's takedown for Reverse Shot, let me quickly address a few of his points.

    “I have to know,” Kate…