‘Moonfall’ Film Review: Roland Emmerich’s Silly Space Saga Is a Four-Star One-Star Movie

GALECA: The Society of LGBTQ Entertainment Critics has announced its Dorian Award nominations for the best in movies.  Netflix and Neon dominate the nominations this year.

Peter Debruge Chief Film Critic“Animals are people too!” a liberal yahoo in Portland yells before nearly getting his face eaten off by a Belgian Malinois named Lulu in “Dog,” a movie that not-so-secretly agrees with that sentiment, even as it has a laugh at the clueless animal lover’s expense.Lulu, it turns out, is a more complicated character than the one her human co-star, Channing Tatum, gets to play — which explains why it took three Malinoises to embody her on screen: one to do most of the “acting” (Britta), one to lie down (Lana) and one to look as incorrigibly homicidal as possible, like she could rip out your throat or murder Al-Qaeda, if necessary (that would be Zuza). But Tatum had the much tougher job, trying to disappear into the skin of a battle-scarred ex-U.S.

Tomoko (Muneaki Kitsukawa) — the young daughter of his host family — the real song drops on the soundtrack, a moment of excessive underlining. Another moment, where Smith reflects on rejecting a bribe from a Chisso executive, is complicated by unnecessarily non-linear storytelling and some aggressive scoring from composer Ryuichi Sakamoto.Cinematographer Benoît Delhomme (“At Eternity’s Gate) crafts a naturalistic look with practical lighting and a fluid camera, rendering the film with a dark beauty, but Levitas also incorporates archival and recreated footage of the protests at Chisso, as well as capturing the photographic process with slow, almost completely still black-and-white sequences.

Director Roland Emmerich says it’s a lot harder for filmmakers to develop and release original ideas thanks to the prevalence of Marvel movies and “Star Wars” spin-offs.

Rebecca Rubin Film and Media ReporterAfter living through a pandemic for nearly two years, Americans, as it turns out, were in desperate need of a laugh.That may explain why Paramount’s go-for-broke action comedy “Jackass Forever” triumphed at the domestic box office while Roland Emmerich’s disaster epic “Moonfall” turned into an epic disaster.“Jackass Forever,” the fourth installment in the ongoing saga of projectiles to the groin, collected $23 million from 3,604 North American locations in its debut, landing on the higher end of expectations. The latest “Jackass,” starring Johnny Knoxville, Steve-O, Wee Man and other daredevils from MTV days, had been widely expected to win the weekend, but its victory is still surprising and impressive because it has been some time since a pure comedy has claimed the top spot on box office charts.

Brent Lang Executive Editor of Film and MediaWith much of the country bracing for or digging out from a nasty winter storm, two new releases are hoping to provide so much sizzle that moviegoers will brave the ice and snow to hit up their local multiplexes.In one corner: Lionsgate’s “Moonfall,” a disaster epic from Roland Emmerich, one of the most successful purveyors of cinematic destruction. In the other: Paramount’s “Jackass Forever,” the latest entry in the long-running series in which Johnny Knoxville, Steve-O and Wee Man risk life, limb and nether regions in the service of comedy. “Jackass Forever” scored a stronger Thursday previews showing, netting $1.7 million.

they all find it to reduce each other to writhing heaps. Though you will surely wonder why Jason Acuña (“Wee Man”) would allow himself to be tied down and covered with raw meat as an offering to a hungry vulture, “Jackass Forever” is not for questioning.

Rebecca Rubin Film and Media ReporterWill this be the weekend that “Spider-Man: No Way Home” is dethroned at the box office once and for all?Paramount’s go-for-broke action comedy “Jackass Forever” and director Roland Emmerich’s disaster epic “Moonfall” certainly hope that’s the case. After an excruciatingly slow January at the movies, one that let “Spider-Man” tower over the competition for weeks, the two nationwide releases will try their hand at getting audiences to multiplexes.“Jackass Forever,” the fourth installment in the ongoing saga of projectiles to the groin, appears to have the best shot at taking down “Spider-Man: No Way Home,” which has spent six of the last seven weeks at No. 1.

Directed by Paula Eislet and Tonya Lewis Lee (Spike Lee’s producer and partner), the documentary “Aftershock” chronicles the dismal maternal mortality rate that women of color face in the United States medical system. The statistics are shameful, pointing to a systemic racist indifference, and the documentary chronicles the staggering number of times that expectant mothers entering into hospitals simply do not come out alive due to a lack of care and sensitivity.

Carol Speed, who lit up the screen in the cult blaxploitation film The Mack died on Jan. 14 in Muskogee, Okla. She was 76 her family announced her death in a statement published online, but did not specify the cause.

th feature film, Allen returns to a well that is not so much dry as desiccated. The movie opens with Wallace Shawn as our Allen doppelgänger, Mort Rifkin. Mort, an anxious former professor, is also a dedicated cinephile and self-defined intellectual who spends the next hour and a half complaining vociferously to his analyst.He’s reminiscing about a troubled trip to Spain’s San Sebastián Film Festival, which he recently took with his publicist wife, Sue (Gina Gershon).

The 72nd Berlin International Film Festival has confirmed its various juries, including who will be joining M. Night Shyamalan to award the International Competition prizes.

Wilson Chapman editorThe Miami Film Festival has announced its opening and closing titles for its upcoming 39th edition.The festival, which showcases works from filmmaker’s in the Ibero-American diaspora, will premiere and end with two films listed on the Oscar shortlist for international feature film. “The Good Boss” (El Buen Patrón), a comedy written and directed by Spain’s Fernando León de Aranoa, will open the festival, which will close with “Plaza Catedral,” the sophomore narrative feature of Panamanian director Abner Benaim.“The Good Boss” stars Javier Bardem as Blanco, the owner of a family business up for consideration for a local award for business excellence. Determined to win the award, Blanco begins meddling in the lives of his employees, setting off a chain of events that leads to shocking repercussions.