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The legendary literary lesbian romance, starring the incendiary duo of Gemma Arterton and Elizabeth Debicki, is criminally blah, lacking all sexual and intellectual passion. How does this happen?
Julianne Moore pulls off the small miracle of tamping down her own intense charisma while still imbuing the ordinary, unglam Gloria with lively verve and a dynamism of low-key resilience personified.
This tonal misfire never hits the notes of drama and romance it aims for with its ickily problematic terrorist-hostage relationships. Facile and uncomfortably implausible, emotionally and practically.
There’s a lot of hot-button stuff going on in this A-bomb spy drama — politics, sexism, scientific ethics — but it’s all surprisingly inert, given the literal fate-of-the-world stakes.
Like Drunk History but sober, a lively, arch, dryly comedic corrective to the traditional, heteronormative, patriarchal image of Emily Dickinson. Incredibly audacious and utterly delightful.
Beautiful teens fall in love while dying prettily in this year’s tragic young romance, one that medical necessity renders refreshingly chaste. Best bit: Star Haley Lu Richardson is genuinely charming.
Post WWII upheaval is a cheap backdrop to beautiful people getting it on. Characters and situations are undeveloped, and there’s little genuine romance here, and too much laughable preposterousness.
A beautiful story about ugliness, about dignity in the face of hatred, told via delicate yet steely performances that imbue it with a power at once tender and infuriating. Totally enrapturing.
Overlong and underwritten, tepid and dreary, this would-be sexual melodrama isn’t lurid enough to qualify as soft-core porn, but never finds any true emotion among its triangle of lovers, either.
A heist movie that is gripping and badass, elegant and assured. You could ignore all the social-justice-warrior stuff and just enjoy this as a popcorn thriller. But what makes this so special is how it reexamines the genre’s clichés.
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