Between Baz Luhrmann’s Elvis (which I hated) and Sofia Coppola’s Priscilla (which I mostly liked), I think it’s time to prohibit biopics from involving the real subject or their descendants in their production.
Between Baz Luhrmann’s Elvis (which I hated) and Sofia Coppola’s Priscilla (which I mostly liked), I think it’s time to prohibit biopics from involving the real subject or their descendants in their production.
Is it gauche to say I just expected more? The problem, for me, is that I don’t know what new shades of the well-treaded concept of the banality of evil this movie fills in that require more than, say, the first couple of scenes to play out.
How can an ode to normalcy become extraordinary?
Past Lives is the Brief Encounter for our era, a masterpiece of wounded romance.
While visually as stunning as any other Ghibli, Miyazaki’s latest lacks depth in its story and characters.
Scorsese’s harrowing denunciation of the crimes against the Osage tells a powerful story through a too narrow perspective.
Sometimes it feels like a movie could be so much more, such potential for a deeper story. I’m not sure this is one of those; sometimes there’s just nothing there.
Koreeda populates this heartrending story with fiery characters, brought to life by incredible actors.
A hurricane of lust, betrayal, confrontations and reconciliations.
Godland did not work for me, despite its engrossing first half and the stunning beauty of its shots, but you might prove more patient or more open to the experience than me.