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An opulent, juicy, splendidly silly, tears-of-joy spectacle reminiscent of the escapist fluff of 1930s Hollywood… yet also a romantic fantasy that a progressive, feminist gal can actually feel good about.
This lush throwback to European cinema of the 1950s and 60 looks gorgeous and sounds wonderful, but it never quite gels as the passionate romance it wants to be.
A dark, bitter bonbon of an anti-romcom: so marvelously unromantic, so beautifully catty and witty. Keanu Reeves and Winona Ryder were born to play these roles.
With smarts, warmth, and humanity, this mystery that unfurls entirely on computer screens becomes an ode to the new digital lives we are all leading, from how we use our devices to what they say about us.
Marguerite Duras’s semifictionalized memoir of psychological survival and emotional endurance in Paris during the Nazi occupation makes an uneasy, listless transition to the screen.
Ugly, sordid, and proud of it, with less than no justification. “Meet the Feebles meets Who Framed Roger Rabbit” conveys a far greater sense of dignity, cohesion, and purpose than this witness movie deserves.
The nicest, kindest critique of toxic masculinity imaginable. The makeovers aren’t only about new clothes and a haircut: they’re about men waking up to a new sense of self, and a new participation in their own lives.
Courtroom drama? Portrait of a marriage? Character study of a workaholic? This frustratingly random film cannot figure out what it is or what it wants to say… but Emma Thompson’s beautifully empathetic performance is worth your time.
The remarkable Ice Age setting is all that distinguishes — and not by much — a depressingly conventional boy-and-his-dog story.
It’s weighed down by unnecessary narration and a surprising lack of conflict. But star Emily Mortimer and director Isabel Coixet create a character study of a rarity onscreen: an earnestly cerebral woman.
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