The Favourite is unabashedly modern, it has sharp teeth, and it is outrageous in all the best ways.
Choosing to thread too many stories, Marvin doesn’t land any of them, leaving us instead with a fragmented look at a character that doesn’t hold up to that level of detail.
Heartstone is tough, and unapologetically so, but there is a wounded beauty to it, in its dimly lit nights and its sparks of humanity between the sea and the rocks.
Girl had the potential of being a deep, introspective discussion of trans acceptance and integration, but its extensive dance interludes bloat its runtime and its refusal to address many of its own open questions diminishes its emotional throughline.
What a delight, what a rare privilege, to see a work of art so full to the brim with talent. This is a movie that knows how to find the cosmic in the commonplace, the monumental in the smallest interactions. It is a tragedy, but it is also, simply, life.
The film succeeds by letting these characters reconnect slowly, naturally, awkwardly, by giving them space to circle each other; it looks at them with sympathy, not with judgement.
It warms my heart that there are movies like Greg Berlanti’s Love, Simon: movies that are affectionate, optimistic, that carry their heart on their sleeve, that feel empathy and compassion for all their characters, not just their protagonists.