Producer Guillermo del Toto (“Pan’s Labyrinth”) has created a socially conscious, surprisingly grim, ‘gateway horror’ anthology that’s PG-13, geared toward younger viewers, connecting Alvin Schwartz’s tales, grotesquely illustrated by Stephen Grammell, revolving around six teenagers in 1968, just before Richard Nixon’s election.
Nobody expects “Downton Abbey” or “Last Year in Marienbad” to open in the summer. We expect movies to take in our air conditioning with violence, with sitcom romances, maybe a few Marvel Studio entries. But “Stuber” represents a new low even for a July opening. It has the violence, the comedy, even a romance of sorts, but the funny parts aren’t, the violence leans toward the non-stop, the romance involves one of the principals emailing a woman he’s been dating, the woman virtually harassing him to come right over and they’ll “have sex.”
- Harvey Karten (Member of New York Film Critics Online)
- Release Date
- June 7, 2019
Cast: Danny Glover
In Alfred Hitchcock’s “Vertigo,” one of the many movies taking place in San Francisco, Gavin Elster complains to retired police detective Scottie Ferguson, that the city is not what it used to be. This becomes the theme of Joe Talbot’s “The Last Black Man in San Francisco, an ode to one of America’s most touristic metropolises, one of our few cities that do not require residents to get about by car. Nostalgia-minded people might well lament that its history of being sanctuaries for African-Americans who left the oppressive South and immigrants who fled from political and economic countries has become an ultra-expensive playground for the rich and upcoming tech executives settling into its gentrified homes. In his debut feature, fifth-generation San Franciscan Joe Talbot makes use of his long-term friendship with Jimmie Fails to create a heart-rending film of marginalized people, cast aside by the “progressive” changes in residential quarters, but who have never forgotten their cherished childhoods in the Bay area. The pic is all the more remarkable not only as Talbot’s first shot at a feature but in the range of emotions explored by its chief characters, played by Jimmie Fails and Jonathan Majors.