What elevates 1917, to me, is that in the middle of all the action, it is a touchingly human film.
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.
Although the character of the arrogant, self-centered movie star is a worn archetype, the mother-daugher relationship in The Truth does not feel like a cliché.
Anthony Hopkins and Jonathan Pryce both give a master class in acting in The Two Popes, which loses steam in its second half but is nonetheless an absorbing discussion.
Greta Gerwig has given new life and a sense of urgency to Little Women, making it feel timely and timeless.
Marriage Story is delicate and painful, tender and heartbreaking all at the same time, and in its messy complexity it feels true to life.
Les Miserables is a powerful film, one that speaks many different truths and does not pretend to have easy solutions.
The Irishman is the ultimate gangster movie; not necessarily the best, but certainly definitive, with the dramatic weight of a life long lived.
The King is dispassionate, and sometimes drab, but it keeps Shakespeare’s insight and recreates his literary style.