F9: THE FAST SAGA – Review by Susan Granger

Originally released 20 years ago as a supercharged B-movie about street racing, starring Paul Walker and Vin Diesel, the gritty Fast and Furious franchise has continued to flourish – “a quarter mile at a time,” as Dominic Toretto would say. Thinly scripted by Daniel Casey, Alfredo Botello and director Justin Lin, this ninth installment revolves around generic Toretto sibling angst, punctuated by preposterous, over-the-top, physics-defying stunts and the sound of purring engines, squealing tires and skidding stops.

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F9: THE FAST SAGA – Review by Leslie Combemale

F9: The Fast Saga is truly the most ridiculous movie I’ve ever seen. There were times when I was rolling my eyes so hard I feared they’d roll right out of their sockets. A scene where two dudes get shot into outer space in a souped-up car wearing vintage diving dress comes to mind. It is, however, a film that features not one or two, but six smart, independent women in positions of power, who can fight as hard and well as the men do. They need no rescuing. In fact, in F9 they often take control of the situation.

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CRISIS – Review by Susan Granger

Writer/director Nicholas Jarecki’s dramatic thriller revolves around three aspects of the opioid Crisis. There’s architect/single mother Claire Reimann (Evangeline Lilly), who is recovering from an Oxycodone addition when her 16 year-old hockey-playing son suspiciously disappears and she discovers he’s tragically involved in drug-smuggling operation.

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SHE DIES TOMORROW- review by Liz Whittemore

In Amy Seimetz’s newest film, sadness is palpable. That really is the entire premise of the film. The idea of impending death spreads like a disease. Hauntingly scored, She Dies Tomorrow puts you into a state of foreboding from the very first image.

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WIDOWS – Review by Diane Carson

Thematically and cinematically Widows is a fresh, creative take on the heist film, exactly what director Steve McQueen fans would expect. In 2013 he won three Oscars, including Best Motion Picture of the Year, for 12 Years a Slave, the first time in Academy Award history for such an honor to a black director/co-producer.

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WIDOWS – Review by MaryAnn Johanson

“This is not your world,” someone — a man — says to Veronica Rawlings in the aftermath of the death of her husband, Harry. The man is talking about the Chicago criminal underworld in which Harry was a very successful mover — until he no longer was — but he might as well be talking about the whole big wide world.

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