Peter Debruge

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‘Private Life’ Review: Fluent in French, Jodie Foster Steers an Upscale, Paris-Set Psychological Thriller

A sophisticated American in Paris, psychiatrist Liliane Steiner has a habit of recording her sessions. Is it because her patients speak French, and she’s afraid of missing a thought? (I doubt...

‘Highest 2 Lowest’ Review: Spike Lee’s Kurosawa-Inspired Kidnapping Drama Isn’t So Much a Remake as a Manifesto

There’s enormous risk in remaking a movie like “High and Low.” Japanese master Akira Kurosawa set the bar high with his 1963 take on a kidnapping that brings an ambitious businessman...

‘The Secret Agent’ Review: Wagner Moura Is Marked for Death in Kleber Mendonça Filho’s Terrific ’70s Thriller

Carnaval provides a convenient cover story for nearly 100 deaths and disappearances in “The Secret Agent,” Kleber Mendonça Filho’s robust sense-memory immersion into the sights, sounds and suffocating climate — both...

The ‘M3GAN’ ‘Second Screen’ Chatbot Is an Epic Fail — and Offers Another Dire Warning for Our Future

While the rest of the world was in Easter mode, Blumhouse hatched a deliciously blasphemous bit of counterprogramming the horror shingle is calling “Halfway to Halloween.” Basically, producer Jason Blum is...

‘Havoc’ Review: In Gareth Evans’ Dark, Destructive Netflix Outing, Only Tom Hardy’s Reputation Remains Unscathed

At first, “Havoc” sounds like just another one of those generic, one-word titles Hollywood slaps on action movies to convey a terse, efficient shoot-’em-up. Why give such projects a long-winded name...

Peter Debruge

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