MOVIE REVIEW: The Lobster

With intentionally languid brushstrokes, "The Lobster," from Greek director Yorgos Lanthimos in his English language debut, creates a challenging moral setting that twists the realities and consequences of two human conundrums and fears: What happens when you are single and what happens when you die. His muse at the center is Colin Farrell in arguably the most understated performance of his career. With more talent and a high concept at play, "The Lobster" is missing the charm to tie it all together.

MOVIE REVIEW: The Family Fang

The core of the dysfunctional family at the center of Jason Bateman's "The Family Fang" invokes a particular curiosity. Do weird parents raise and make weird children? Name your odd occupation and examine that question yourself. For example, what are the kids of two circus clown parents like? Do they grow up with the same sense of humor or performance? Do they relish that irregular environment because that was their preeminent example or do they rebel and long for something more typically normal?

MOVIE REVIEW: High-Rise

"High-Rise," starring Tom Hiddleston, is a strongly constructed blend of experimental science fiction with colossal political and social commentary. The layers of symbolism, analogy, and allegory are as tall as the building itself. There is a richly disturbing and dark fascination in observing how all of this frivolity comes crashing down in unpredictable and unlimited disaster.

MOVIE REVIEW: The Confirmation

If we were to play Word Association and you were given the name Clive Owen, what would you say? The lucky astute of us who have followed Clive since 1998's "Croupier" have seen him play brash and gruff villains, antiheroes, and leading men. As of the new film "The Confirmation," you have very likely never seen him play a domestic father. Now, north of 50 years old, here's Clive Owen in a role that doesn't require, nor utilize, any of the sexy traits that made him a James Bond candidate before Daniel Craig.

MOVIE REVIEW: The Program

Creating entertaining biopics about a universally disgraced figure are a hard sell under that key word of "entertaining." If they attempt to create sympathy, a duel of alienation and bias can arise. A good, thought-provoking movie has to fearlessly dig deeper. As Van der Rohe is attributed to saying, "the devil is in the details." Exposing the sordid and untold details of what led to the subject's defamation is where your film gets interesting. The rise and fall of champion cyclist Lance Armstrong is fertile ground and a fresh wound that has yet to be solved. "The Program," directed "Philomena" and "The Queen" Oscar nominee Stephen Frears, pedals uphill in attempting to shine a light on the dark details.

MOVIE REVIEW: Crouching Tiger, Hidden Dragon: Sword of Destiny

Last summer, the chief complaints of "Jurassic World" were its lack of majesty and awe to follow the original "Jurassic Park." One can now say the very same about the new long-distance sequel "Crouching Tiger, Hidden Dragon: Sword of Destiny." The soulful beating heart that stirred the 2000 winner of four Academy Awards has been stifled to large degree. The dazzling and balletic flight of fancy that we fell in love with then has been replaced by repetitive flashiness driven by a different audience.

MOVIE REVIEW: The Wave

Plenty of disaster movies pretend to lean on real science to justify their cinematic ambitions in order to offer belief an audience can accept and exude some form of intelligence. Too often, the manic energy to entertain exceeds the science and a two-hour turd polishing clinic results. The decent ones can touch base with the right science and blend in the theatrics. As long as you can stand subtitles and tray of cheese samples, you have a mild winner in "The Wave (Bolgen)" from Norway.

MOVIE REVIEW: Anesthesia

When a crime is committed, an unfortunate convergence of fate, luck, and coincidence occrs between people that would otherwise be strangers. The violent and emotional sting of that event then spreads to the family and friends of all parties involved, from perpetrator to victim. Like ripples in a pond, one incident can affect dozens. Actor/director Tim Blake Nelson's new film and fifth directorial feature, "Anesthesia," probes that social reverberation in a provocative way.

DOCUMENTARY REVIEW: Amy

Filmmaker Asif Kapadia captures the bracing and startling rise and fall of the late jazz singer Amy Winehouse in "Amy." Accessing an enormous wealth of old videos from friends and family, self-read letters of lyrics and songwriting, archived phone conversations, backstage footage, media appearances, and unreleased performances, "Amy" weaves a masterful and compelling narrative. It is on the 2016 Oscar short-list for Best Documentary Feature and is available now for home viewing.

COLUMN: New review platform for "Every Movie Has a Lesson"

I wanted to formally update my followers and readers of a cool new platform and opportunity for both you and this website. This past fall, I was approached by the one of the co-founders of the young website BAG Movies to add a professional profile to their community site. Founded in February 2015, BAG aims to be "one-stop shopping" for finding, watching, and sharing movies and TV shows. It can become your new place to talk and listen to your friends about what you're loving (and hating) in entertainment.

MOVIE REVIEW: Bone Tomahawk

The western film genre has always had a violent backbone. Even in the sunniest and most heroic of examples, more often that not, we're watching a struggle of survival where it is kill or be killed in a raw rural landscape. We label, separate, and celebrate heroes from villains, but all are killers with only opposing morals and justice of different degrees separating them. The violence is ever present. Few traditional westerns embrace its violent reality. "Bone Tomahawk" surges head first into it with absolute courage and graphic disregard.

MOVIE REVIEW: Digging for Fire

Joe Swanberg is a leader of the "mumblecore" movement, which primarily employs naturalistic everyday settings with improvisational dialogue and a loose story structure. Such an approach has been found to be a double-edged sword of open-endedness. Either it's fresh and interesting enough to keep you guessing or it's maddeningly lost and too unstructured for not really coming to a conclusion or making a point. This film adds another miss to the list for Swanberg. This writer loves what he stands for, but hates the underwhelming results.

EVERY MOVIE HAS A LESSON

by Don Shanahan

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