Horse Girl starts out well enough, as a seemingly thoughtful character study, but quickly gets lost in sophomoric conspiracy theories.
Horse Girl starts out well enough, as a seemingly thoughtful character study, but quickly gets lost in sophomoric conspiracy theories.
Uncut Gems stressed me out, in the best possible way.
Judy is a mostly by-the-numbers biopic, propelled by a star performance, with not much to say.
Waves is almost two movies in one. The first is dynamic, energetic, and stressful; the second is slow, melancholy, and contemplative. Both are full of life and emotion.
Consequences is a rough experience in a ruthless environment, but its regard is clear-eyed and energetic. It is a tale of survival in a violent, hypermasculine world.
The Souvenir is a different kind of love story: a look at a toxic relationship, how they happen, and why people stay in them despite a million obvious reasons not to.
Here’s a story about being foreign, especially about being foreign in your own family. The Farewell is a sharp but grounded observant of the family dynamics in the face of tragedy.
What elevates 1917, to me, is that in the middle of all the action, it is a touchingly human film.
Her Smell left me completely exhausted and more than a little dazed, but Elisabeth Moss’ work in this film is colossal.
Part thriller, part drama, part comedy, Hustlers is an exhilarating ode to powerful, sharp, and, yes, ruthless women who blaze their way through a landscape that only sees them as objects to lust after and then discard.