Film Reviews | Salt Lake City Weekly

What Women Want

Little Women and Hustlers tell the same story that is too rarely told.

Hot Take

The gimmick at the heart of 1917 sometimes distracts from its urgent wartime drama.

Simply the Year's Best

Wrapping up 2019 at the movies.

What Women Want

Little Women and Hustlers tell the same story that is too rarely told.
I am going to drop a truth bomb, and you are probably not ready for it: Little Women and Hustlers are the same movie.

New Eyes

Greta Gerwig restructures Little Women into a collision between aspirations and societal reality.
Every remake or re-telling of a story on screen comes with an implicit question: Why? What reason is there to do this again, and what new idea do the filmmakers bring to it?

They Retort, You Deride

Bombshell's dead-ringer performances don't elevate a self-congratulatory poke in the eye at Fox News.
Whatever movie magic was employed—digital, prosthetic, makeup, hairstyling, pure physical performance—it yielded an uncanny resemblance between the actor and the real-life individual that actor is portraying.

Blame Game

Richard Jewell gives us easy villains in a story about carelessly seeking easy villains.
In a world increasingly defined by binary thinking, there is a phrase I have grown fond of using: Two things can both be true.

Stayin' Alive

The survival adventure of The Aeronauts gets bogged down in backstory.
Is it possible to spend too much time drawing those characters?


Rian Johnson turns Knives Out into a uniquely entertaining spin on murder mystery.
It's hard to explore just how effectively Rian Johnson upends the idea of a whodunit in Knives Out without spoiling whodunit.


The Irishman turns mob life into a melancholy tragedy.
It shouldn't be surprising that Scorsese finds plenty new to say, and in a way that's actually in fascinating conversation with his earlier mob-themed films.

Playing Chicken

Ford v Ferrari and the balance between highbrow cinema and pure entertainment.
To reduce it to its crudest essentials, it involves Scorsese's distinction between what he considers "cinema" and what he considers "worldwide audiovisual entertainment"—risk-taking storytelling, as opposed to safe, financially lucrative franchise installments.

Shine On

Doctor Sleep effectively embraces the legacy of The Shining.
Would this Doctor Sleep be a sequel to King's book, or to Kubrick's movie? Or could it somehow manage to be both?

What the Heil

A twinkly, precious approach to un-learning hate doesn't serve Jojo Rabbit well.
Maybe you can craft a "once upon a time" narrative into something that eviscerates the childish ignorance behind racism and anti-Semitism, and makes swastika-clad goons into subjects of much-deserved scorn.

Fiend-ers Keepers

Isolation turns horrific—and also crudely funny—in The Lighthouse. Lighthouse
You might have seen movies before with some of the same visual artistic ambition as The Lighthouse—a movie that plays with your sense of reality, or captures its characters in forbidding black-and-white cinematography.

The Terrible 10

Horror, slasher and just plain creepy films: We tip our witch's hat to you.
Gather friends around a big-screen TV and turn off all the lights.

Scandal in the Wind

A film festival of stories about politicians under pressure.
Here are just a few relatively recent examples to contemplate the many ways 2019 could shake out.

Bored of the Flies

Monos too rarely moves beyond a familiar story of violent youth.
In their down time, the kids—called Bigfoot, Wolf, Rambo, Dog, Smurf, Swede, Boom Boom and Lady—play soccer blindfolded, pair off in so-called partnerships.

Moon Crazy

Ad Astra offers an odd mix of awestruck human drama and moon pirates.
Director James Gray's heady mix of science-fiction thriller, psychological drama and social commentary feels almost genetically engineered so that it's hard to figure out what he's trying to do.

Super Size #MeToo

Can Morgan Spurlock's new documentary avoid association with his admitted bad behavior?
After two years in limbo, Super Size Me 2 finally emerges into release, with an unavoidable question attached


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