The King is dispassionate, and sometimes drab, but it keeps Shakespeare’s insight and recreates his literary style.
The King is dispassionate, and sometimes drab, but it keeps Shakespeare’s insight and recreates his literary style.
Soderbergh’s latest tries to do many things but doesn’t stick around long enough to develop any of them. A stellar cast is mostly squandered with brief roles that don’t leave an impact.
For such a prolific director, Dolan isn’t always making the same film. Here he’s crafted a beautiful portrait of a fierce, messy friendship.
Joker is gripping and Joaquin Phoenix is phenomenal in it, but it puts its efforts in contextualizing violence without then having anything to say about it.
Quietly, slowly, Portrait of a Lady on Fire paints a lavish picture of love and friendship, as intellectual as it is passionate.
Deux Moi is a tender exploration of mental health and loneliness, a story that stays away from melodrama in favor of nuance.
With Blue Jay, which is now on Netflix, director Alex Lehmann and writer Mark Duplass (who also stars) have achieved exactly that, which is to stumble upon something true, something that speaks to a reality of life, and to capture it in a beautiful, heartfelt movie.
The Kitchen has a trio of charismatic protagonists, but this falls short of making up for a story that puts shock value over nuance.
If you go in looking for the same high-octane action as in his other films, you’re not going to get what you expect, but Once Upon A Time In Hollywood is still pure Tarantino.
“It’s three chords and the truth”, Rose-Lynn says about country, quoting Harlan Howard; too often we think of it as obsessed with blue jeans and pickup trucks, but through Rose-Lynn’s eyes we see that there’s true art beyond that, a soulful longing that doesn’t care if you’re wearing cowboy boots… or if you’re from Scotland.