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Not fit to lick the boots of Martin Scorsese or Christopher Nolan, though the height of its ambition appears to be its desperation to do so. A movie as pathetically ineffectual as its protagonist.
Intense, uncomfortable family drama morphs into psychological suspense in a challenging tale of racial and cultural identity eliding the biases and delusions of its characters with the viewer’s own.
Not a spy thriller but a story of emotional and intellectual suspense wrangling with matters of patriotism and of conscience, and of just how far journalism’s watchdog role can and should take it.
Corporate culture gets a delightfully twisted kick in the ass when a “team-building retreat” turns disastrous. As horror vies with comedy, the pitch(black)-perfect cast gets the balance just right.
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.
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.
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