Antonio Banderas shines with an understated performance in Pain and Glory, a self-reflective study in nostalgia.
God’s Own Country is harsh, but it is also tender, and it’s all the more affecting because it finds hope and love not in a fairy tale but in a story that feels real and lived in. I am sorry I missed it when it came out, because I feel like I lost valuable time where I could have been thinking about it.
Booksmart is everything a teen comedy could ever aspire to be: it’s razor sharp, it’s quick on its feet, it’s full of love and tenderness, it’s original, it’s uplifting, and as if that wasn’t enough, yes, it is a comedy, and it’s hilarious. Olivia Wilde directed a treasure of a movie, and you cannot watch it soon enough.
Boy Erased succeeds in using one person’s story to shed light on a large reality, and takes the chance to explore notions of identity, family and acceptance.
Xavier Dolan’s first English-language film is an intriguing exploration of identity and family with a superb cast.
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.