Drama Rod Lott
Paul Schrader’s The Canyons opens and closes with a montage of abandoned movie theaters. For this film in particular, that choice strikes one as symbolic in several ways: not only as a comment on the state of the industry, but on the state of The Canyons itself. You’re unlikely to find many 2013 films this empty.
Dripping with atmosphere as thick as gumbo, the New Orleans-centered Cat People of 1982 is the right way to remake a genuinely great film: Hold on to that central concept; dispense with most everything else.