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Wherein the working class revels in servitude, and wealth and privilege are deserved. Deeply reactionary and unlikely to please anyone not already enamored of the show. I get Anglophilia, but really?
This Norwegian family drama, tinged with fantasy and horror, depicts a teen girl’s emotional turmoil through fantastical, yet oddly pragmatic, reveries. Newcomer Ylva Bjørkaas Thedin is heartbreaking.
GoodFellas, except they’re gals. A cinematic bonbon of delinquent deliciousness that easily wraps us up in charmed complicity. And the exquisite lack of a male gaze means it’s never salacious.
A study of the painter LS Lowry that, with sly whimsy and darkness, finds a universality of the creative psyche via the toxic relationship with his mother, who tried (unsuccessfully) to crush him.
A bigger misfire than its predecessor, and a waste of a great cast. Unsupportably overlong, with a feel-good self-care denouement that’s almost dangerous. The only terrifying thing here is the tedium.
An interactive story-driven culinary adventure that’s like being dropped into a Doctor Who–esque spacetime unknown. Weird, wonderful, sometimes unnerving. An intriguingly odd sensory odyssey.
A sad retread of The Fugitive. Dumb, pointless, confused, full of contempt for its audience, and laughably unable to convince us that Gerard Butler is an acceptable stand-in for Harrison Ford.
Atmospheric mood — this is a dour nightmare in the stark gloom of 19th-century Wales — and a striking performance by Eleanor Worthington-Cox aren’t quite enough to sustain this near-horror film.
There’s plenty injustice here to enrage the thinking, feeling citizen, but despite a passionate performance by charismatic Aldis Hodge, this docudrama is nowhere near incensed enough on his behalf.
Painfully stupid faux-woke slapstick that wants to have its idiot male hero and its nods to feminism at the same time. Kids are listening, they are absorbing this garbage, and they deserve better. (now with a brief review of short “Hair Love”)
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