HeyJaredMichael Rechtshaffen
- Indexed articles, last 90 days
- 4
- Latest publication
- Sep 14, 2026
- Outlet visibility, for The Hollywood Reporter
- Top 10K sites
- Earliest in this view
- Sep 11, 2026
Latest articles
‘The Last Photograph’ Review: Zack Snyder Tries Indie Filmmaking on for Size, With Painfully Ponderous Results (opens the original)
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After an extended sojourn working in the DC Extended Universe, successful filmmaker Zack Snyder casts off those studio shackles and goes full-on indie with The Last Photograph, a highly personal, long-in-gestation, self-styled Western that trades lavish studio sets for the wide-open spaces of Colombian location shoots. But while the change of pace undoubtedly felt liberating, the end result comes across as a leaden misfire. Overstuffed with pretentious symbolism and flatly delivered, vapid dialo
‘Babies’ Review: Anna Kendrick Is a Comic Dynamo Alongside Seth Rogen in a Sparkling Portrait of a Couple Weighing the Pros and Cons of Parenthood (opens the original)
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To be or not to be … parents. That is the thorny question raised in Lauren Miller Rogen’s Babies, an astute charmer about a happy, supportive Los Angeles couple (Anna Kendrick and Seth Rogen) who, after 17 years of togetherness, begin wondering if they might be missing a bouncing bundle of something in their lives. Maybe it was all the times they heard friends with kids tell them, “You guys would be such great parents,” but Annie and Aaron suddenly find themselves addressing a topic they hadn’t
‘The Stunt Driver’ Review: Jay Baruchel Channels Canada’s Answer to Evel Knievel in an Affable True-Life Comedy That’s Not Fast or Funny Enough (opens the original)
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Turning to the 1981 documentary The Devil at Your Heels as its inspirational jump-off point, Michael Dowse’s The Stunt Driver tracks the trials and tribulations of Canadian daredevil Ken Carter in his tireless bid to make a mile-long jump across the St. Lawrence River in a rocket car. With a pitch-perfect Jay Baruchel firmly in the driver’s seat and Ed Helms and Ben Foster (as Carter’s nemesis-turned-mentor Evel Knievel) along for the ride, the tragicomedy would certainly sound like a can’t-miss
‘The Housewife’ Review: Naomi Watts Is Superb in an Initially Riveting, Increasingly Generic Portrait of Deceptive 1960s American Domesticity (opens the original)
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Arriving at a time when accountability would appear to be an increasingly scarce commodity, The Housewife, which was handed its world premiere on the opening night of the Toronto International Film Festival, shares a lot with last year’s fest entry, Nuremberg, with its themes of complicity and the thorny pursuit of justice. Set in New York two decades after the end of the Second World War, the first feature by Canadian filmmaker Ben Shirinian with a compelling script by Alyssa Hill, follows a Ne
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