If you liked the 2004 version, you almost can't help but enjoy this latest one, because it's the same movie, albeit with songs.

It's time again for my Oscar-nomination predictions! My annual article in which I hope you forget a large portion of it five seconds after the actual nominees are revealed!

They've taken us to a purportedly haunted house, the interior of a video-game, labyrinths out of Greek mythology, and even, at one point, Colorado. But with the debut of Haus of Ruckus' latest comedy Punk Rock Lobster – running at Moline's Black Box Theatre January 19 through 28 – company founders and figureheads T. Green and Calvin Vo will be bringing audiences somewhere entirely new: under the sea.

It arrived a few days late, but the undisputed movie tearjerker of 2023 finally landed in '24 with Thursday's Netflix debut of Society of the Snow, writer/director J.A. Bayona's foreign-language survival thriller about the 1972 Uruguayan Air Force Flight 571 disaster.

Either 2023 was a particularly outstanding year for movies or my standards are getting lower – though I suppose both could be true.

In its new musical incarnation, The Color Purple isn't a very good movie. But I'm not sure how much that matters.

I didn't “attend” the first film in my three-day sextuple feature so much as “plop my ass on the couch and watch” it. And for the first hour-or-so of director/writer/producer/star Bradley Cooper's Maestro, which started streaming on Netflix this past Wednesday, I couldn't imagine wanting to be anywhere else.

Writer/director Paul King's musical-comedy prequel Wonka isn't hard to enjoy. Yet I'd argue that it'll be even easier if you manage to divorce yourself from memories of previous Willy Wonkas – Roald Dahl's, for sure, but also Gene Wilder's and Johnny Depp's.

Its setting may be wintry New England in the early '60s, and its story may conclude on Christmas Day, but don't even think about mistaking director William Oldroyd's Eileen for feel-good seasonal fare: It's a cup of eggnog deliciously laced with strychnine.

The central figures in this thrillingly unsettling dramatic comedy are constantly projecting images of themselves as they desperately hope to be perceived, yet all three of them are deeply deluded – and only one of them will emerge unscathed with delusions blissfully intact.

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