The Kitchen has a trio of charismatic protagonists, but this falls short of making up for a story that puts shock value over nuance.
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.
Midsommar lived up to my great expectations in the best way possible, which is to say, it displays a lot of the genius that made Hereditary great while breaking brand new ground, never once feeling like a continuation or a retread.
“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.
As played by Stenberg, Starr is a compelling protagonist, wounded but strong, grappling with her fear but also with a burning need to speak the truth.
Genesis is flawed, but it offers a fantastic performance by Théodore Pellerin, images of touching beauty, and québecois.
Even though it seems to run out of steam sometimes, Vita & Virginia is still a touching, if dispassionate, love story that does right by its subjects.
Far From Home may lack the stakes of Endgame, but it makes for a fun summer outing.
Arrival is one of those rare films that are simply perfect the way they are. Every time I see it I am astounded all over again at how a film can be so profoundly clever and emotionally touching at the same time.
It will break your heart to watch Capharnaum, but you should give yourself to it and go on its journey. Under the hardships it portrays, there is a lifeline of hope and an overwhelming thirst for justice.