Amateurishness in a movie is almost never a virtue, and certainly shouldn't be one when the movie's director is Clint Eastwood. But The 15:17 to Paris – Eastwood's dramatic reenactment of events leading to a foiled 2015 terrorist attack – is a special case.

Here you’ll find links to all of Mike Schulz’s movie reviews from March 2000 to the present.

The presences of Jason Clarke and Helen Mirren, and the film's 1906 setting, may give the proceedings a veneer of class. But Winchester is otherwise standard to its core, complete with the requisite boom!s and bang!s on the soundtrack, the adorable, easily possessed moppet, and the employment of a familiar old-timey tune that attempts, and fails, to give us the heebie-jeebies.

If the news is true, and Paul Thomas Anderson's Phantom Thread does indeed mark Daniel Day-Lewis' retirement from acting, it's an occasion for remorse, if also delight that the legendary performer is at least going out on a high note. (The movie is deservedly nominated for six Academy Awards including Best Picture, Director, and Actor.) But woven into the sadness of “No more Daniel!” is a very specific kind of regret, because man is it a shame the guy didn't make more comedies.

Heading into this morning's announcement of nominees for the 90th Annual Academy Awards, there were loads of questions waiting to be answered. Would The Shape of Water set a new record for most nominations? Would the late release dates for The Post and Phantom Thread damage their Oscar chances? Would the announcement of James Franco's name result in spontaneous booing?

You wouldn't think anyone could make a feel-good entertainment about the War in Afghanistan, still raging after nearly 17 years. But blockbuster producer Jerry Bruckheimer isn't just anyone, and so we have 12 Strong, a demolition-heavy drama about the first Special Forces team sent to Afghanistan in the wake of the 9/11 attacks.

Here are my official predictions for the 90th (!) Annual Academy Awards, scheduled to be announced on the morning of Tuesday, January 23. Boldface denotes predicted nominees, non-boldface denotes runners-up, predictions are in order of probability, and mild commentary is attached at no extra charge.

When the film's focus sticks to Graham's gradual transformation from kowtowed socialite to proud defender of print journalism, The Post is a smashing success. Where it's less successful, unfortunately, is in just about everything surrounding Graham's personal struggle, effective though the film frequently is.

Painful, wrenching, and, in my view, deeply empathetic toward its subject, this is one of the least funny “comedies” I've ever seen. I mean that as a compliment.

Director Craig Cohoon's production was such a ticklish and sustained creep-out that I chuckled and smiled in appreciation as much as amusement, even when I was silently begging one of our leads to not, not, open that scary-ass door.

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