Tom Hanks’ Fred Rogers erodes viewer cynicism in this very special fact-based film.
Your guide to Asheville's vibrant and diverse movie offerings.
Your guide to Asheville's vibrant and diverse movie offerings.
All in Drama
Tom Hanks’ Fred Rogers erodes viewer cynicism in this very special fact-based film.
Go into Bong Joon-ho’s rightly-praised new film blind as possible and reap its plentiful rewards.
This movie about a con man is less about fooling the audience than it is about belief in a world where good and evil are clearly delineated.
In Pedro Almodovar’s most autobiographical film, a melancholy present day is tempered by vibrant boyhood memories.
Adam Driver is mesmerizing in Scott Z. Burns’ fact-based political procedural.
With the movie fresh in their minds, fans will want to linger in this museum-quality exhibition of sets, props, costumes, and historical tidbits.
This fact-based French drama is a landmark achievement in humanizing the impact of sexual abuse by Catholic priests and just as gripping as Spotlight.
Kristina Guckenberger (Mountain Xpress) makes her Asheville Movies debut to discuss Taika Waititi’s hilarious and moving anti-hate satire.
Under the formerly reliable Kasi Lemmons, Harriet Tubman’s story gets the Lifetime movie treatment.
Every aspect of Edward Norton’s ‘50s-set noir is good enough, but mysteriously never aspires to greatness.
As a crime action drama, it isn’t bad, but it seems to be a movie made without an audience.
It’s not the most insightful historical recreation, but it is a hell of a story, told with top production values and luminous cinematography.
Robert Eggers’ follow-up to The Lighthouse is one of the year’s most unpleasant viewing experiences.
Noah Hawley’s feature directorial debut is a forgettable one.
The comedy team of Hannah Pearl Utt and Jen Tullock deliver steady delights in this NYC-set tale of familial dysfunction.
Is Joaquin Phoenix’s take on the DC villain terrific or terrible? The Asheville Movie Guys are not joking around in this heated debate.
The film offers pretty much everything a fan could want from a feature-length continuation of the beloved "Masterpiece" series.
Director John Crowley has created a passable Reader’s Digest gloss on Donna Tartt’s great novel.
Comparisons to the fact-based crime sagas by Martin Scorsese are...let's be nice and say “unfounded.”
Is Chapter Two better than It or worse? The Asheville Movie Guys come down on opposite sides of the question.
