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Two intimate documentaries about atypical paths to parenthood — or not — invite us to re-evaluate our assumptions, expand our thinking, and be more accommodating of the full spectrum of humanity.
Maxine Peake is stupendous in this deliciously audacious period horror, ambitious in emotional scope and with monsters who feel unexpectedly modern: men who wield religion as a tool of oppression.
A “family” comedy about nuclear terrorism, the incompetent CIA agent on the case, and his 9-year-old sidekick. Desperately unfunny, thoroughly misjudged. We are in the worst and the dumbest timeline.
An astonishingly beautiful coming-of-age story of startling specificity and intense intimacy, yet universal in its compassionate depiction of a child’s perspective dawning on mature self-awareness.
A beautiful cinematic experience, delicately subtle and bursting with a gorgeous sense of place and character. There is wonderful intimate suspense in every moment of Nicole Beharie’s performance.
Mundanity builds to almost unbearable tension, but this isn’t an action movie. It’s a drama grounded in emotional realism thanks to the Joseph Gordon-Levitt’s intense empathy and vulnerable humanity.
A disaster of a kids’ fantasy caper; feels like it’s making up the plot as it goes. A mishmash of manufactured wonder: characters barely sketched, action seemingly setting up future DisneyWorld rides.
Gentle kook and visual frolicking bury emotion in this tale of a man mired in grief. Little of its head-scratching whimsy makes a melancholy landing; most just floats away on wisps of insignificance.
A beautiful-ugly film, a work of domestic gothic grotesquerie, of women’s suffocation and sacrifice, pain and isolation. Elisabeth Moss’s performance is next-level glorious in its wackadoo intensity.
A dash of eco-optimism to counter global-warming doom and gloom. Gameau is an enormously engaging fact-based dreamer offering a much-needed mindset refresh and proactive actions we can engage in now.
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