Ignatiy Vishnevetsky, The AV Club

Ignatiy Vishnevetsky

The AV Club

Chicago, IL, United States

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Recent articles by Ignatiy:

Stardust review: The Bowie biopic without any Bowie songs is velvet garbage

Starring Johnny Flynn and Marc Maron, Stardust fails where a single photo of David Bowie would succeed: It makes this most chameleonic of music legends boring. → Read More

There are two new Jackie Chan movies out today, but only one is dumb and fun

Given that both films are being released on the same day, it's an easy choice between late Jackie Chan vehicles: Iron Mask is a lot more fun than Vanguard. → Read More

A quirky ’80s comedy features one of Jackie Chan’s toughest fights

Although it's mostly a softhearted comedic lark, Wheels On Meals ends with an incredible fight sequence for Jackie Chan. → Read More

With Lessons Of Darkness, Werner Herzog turned the Gulf War into science fiction

Lessons Of Darkness is a work of deliberate impurity: too vague to be an essay, too metaphysical and contrived for journalism, too short to even be considered a feature. → Read More

Fire Will Come eventually and spectacularly lives up to its title

Quiet, slow-moving, ambiguous character studies might be a dime a dozen on the festival circuit, but there are few like Oliver Laxe’s Fire Will Come that remind us that there are things out there that still feel as big as myth. → Read More

Ben Wheatley’s demystified Rebecca is a pale imitation of the Hitchcock classic

English director Ben Wheatley has liberated Daphne du Maurier’s story from pesky ambiguities and turned it into an inane, leaden drama. → Read More

Non-Stop took the Liam Neeson thriller to new heights of dumb-smart fun

If Neeson is our ideal of a movie-star authority stand-in, then this is who we really are: passengers on a nonsensical flight-slash-dinner-game from hell, protected by the loudest and most inebriated man with a gun. → Read More

There’s a touch of Oliver Stone and ’80s action excess in this ode to the Black Panthers

The script is unabashed in its lack of subtlety, but Mario Van Peebles meets its bluntness with the same broad direction that he brought to New Jack City, aided by a cast overstuffed with the kind of actors who improve anything they’re in just by showing up. → Read More

Jim Cummings’ inspired werewolf movie The Wolf Of Snow Hollow has way more laughs than scares

The influence of the Coen brothers is conspicuous in The Wolf Of Snow Hollow, especially their fondness for characters that could only exist in one specific place. → Read More

Woody Allen’s worst creative impulses are on display in the long-delayed A Rainy Day In New York

It’s likely that A Rainy Day In New York (which was shot three years ago and has been disavowed by much of its cast) will be the last one Allen will film in the United States. If so, it makes for an ignominious farewell. → Read More

Sherman's March is a fascinatingly self-indulgent documentary

What Ross McElwee’s classic Sherman’s March offers is less a trenchant perspective on life in the Reagan-era American South than a rambling series of droll observations that accumulate into something more compelling than a self-portrait. → Read More

Bill Murray, Adam Sandler, and a whole lot of horror movies are coming this October

Here's what’s coming to a living room—and, yes, some theaters—near you this October. → Read More

Logan Lucky is the Steven Soderbergh version of a Coen brothers caper

Logan Lucky is a Soderbergh film that betrays commonalities with the Coen brothers, with offbeat characters and an ear for phrasing and accented delivery. The Coens share with Soderbergh a fondness for cons, tangled plots, aliases, and a distaste for snobs. → Read More

Alone is a lean, mean thrill machine from the director of Universal Soldier: Day Of Reckoning

That Alone is largely destined for home viewing is unfortunate. Director John Hyams has a gift for widescreen composition and sound design that has Jules Willcox's pursuit by a serial killer (Marc Menchaca) begging for the theatrical experience → Read More

Almost every coming-of-age movie since owes a debt to the wistful, personal The 400 Blows

The movie had a remarkable influence, both as a model for coming-of-age films and as the earliest example of a vivid, transparently autobiographical work. → Read More

A therapist unravels in the deceptive Cannes favorite Sibyl

French director Justine Triet subtly upends the conventions of stories in which reality gets plagiarized, actors get lost in their parts, and fact bleeds into fiction. → Read More

The Rover mutated Robert Pattinson into a grimy, twitchy character actor

If there’s an origin story to his remarkable lead performances throughout the second half of the 2010s, it starts here, in an Australian wasteland with no right or wrong. → Read More

The fall movie season begins with Tenet, Mulan, and a Charlie Kaufman mindbender

Here's everything coming to a living room—and, yes, some theaters—near you. → Read More

Armando Iannucci can’t fast-talk his way through The Personal History Of David Copperfield

Veep creator Armando Iannucci is mostly interested in one side of David Copperfield. He’s taken upon himself a task previously shouldered by multiple generations of high-school English teachers: He’s out to prove that Dickens is very funny. → Read More

Ben Kingsley traded the saintliness of Gandhi for the vulgar gangster menace of Sexy Beast

Like Jonathan Glazer’s subsequent features, Birth and Under The Skin, Sexy Beast is ultimately about an intrusive presence calculated to make viewers squirm. → Read More