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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.
Pretty young people are sad about the end of everything, but there’s no urgency and little emotional authenticity to any of it. We’ve seen this before, pulled off with far more affecting feeling.
A portrait of a weak man, humorless and friendless, desperate to be liked, desperate to be seen as someone who matters. Sebastian Stan’s brilliantly disgusting Trump is horrifically riveting.
Colorful but flattened and flimsy, which really grates next to how abundantly, uniquely original the first two movies are. Suffers greatly from the lack of their deft whimsy. It’s, well, bearly there.
Stark and unsentimental, as stubborn and as challenging as its protagonist, and as monumental as his works. Adrien Brody’s performance is extraordinary, full of flinty anger and palpable melancholy.
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.
Unfunny action comedy can’t even pull off sloppy Yuletide kitsch. The anti-chemistry among its likable stars is “bested” only by the ugly CGI. Have some light festive violence — you know, for kids!
Picaresque childhood misadventures sketch vibrant WWII London. A movie of brutal randomness, feral intensity, and ferocious intimacy. Wildly human, artistically masterful, and completely magnificent.
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.
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