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An extraordinary semidocumentary drama, beautifully accomplished, about dignity, work, and masculinity. Heartbreaking and yet utterly unsentimental, this is one of the most important films of the year.
Witty, tense, and thrilling, but also cheerful, escapist, and fun, this is a perfect cinematic cozy mystery, kept on an even keel by the irresistibly charming Anna Kendrick. Merrily absurd pure entertainment.
Like a black comedy from a dystopia, except the dystopia is real and we are living in it. Chloë Grace Moretz is better than ever as a teen who discovers she may not be able to pray her gay away.
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.
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.
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