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Gentle, charming dramedy about pals in middle-of-nowhere India making amateur movies. The giddy glee in this winsome portrait of geeky passion and enduring friendship is all-around infectious.
Replaces the novel’s rage with gentle comedy, biting its tongue and undercutting its protagonist. Still, mundane truths about women’s realities that rarely get public airings are on welcome display.
Sure, the humor may be bitter, the horror may be audacious, and the overriding genre may be “anti-romance.” But this hugely original, grimly delightful howl of feminine rage is actually kinda sweet.
It barely scratches the surface of the enormous audacity of WWII photographer Lee Miller, but still this is an important movie. It’s also joyous filmmaking, with terrific performances all around.
Marisa Abela is very good as Amy Winehouse, the one saving grace of this cowardly biopic of the wild and wise musician, which hangs its subject out to dry just as the people closest to her did, too.
An upending of the period costume drama that’s cheerfully indecent, gloriously naughty, and full of female rage at the expectations women operate under. Funny as hell and bursting with impudent energy.
A travesty of corporate cynicism. Its desperation to ride Spider-Man’s coattails is pathetic, but its convoluted, coincidence-laden nonsense is duller than you’d imagine: it’s not even so bad it’s fun.
It looks amazing and the cast is fab, but while this could-happen-tomorrow story wants to appropriate the magic of science fiction, it fails to think imaginatively about longstanding human problems.
2019’s The Farewell is new on Netflix in the US, on Prime in the UK.
2020’s The Mole Agent is on Hulu and Kanopy in the US, BFI Player and Dogwoof on Demand in the UK.
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