A very welcome feminist interpretation of Alcott’s beloved novel, layered in sly, winking awareness of Hollywood clichés and the cultural pressures on women. Alive and electric, an absolute treasure.
Tubman’s heroics are excellent movie-movie fodder. This “origin story” embraces her towering legend and her profound symbolic power, finally sliding her into the epic American pop-culture narrative.
If Jane Austen wrote a horror movie. An almost serene sinisterness infuses female-gazey carnal intrigue… but it could be even more feminist than it is.
An astonishing tale of privilege and power: stark, searing, and brutal, almost a Victorian companion to Get Out. Florence Pugh is a force of nature.
Filtering other people’s stories through the eyes of white men is tedious and offensive, and it feels like a desperate hedge against fresh perspectives.
Call this a revisionist feminist postapocalyptic historical western home-invasion horror drama. But even that doesn’t quite do it justice.
If O. Henry and Edgar Allan Poe collaborated on a love story, it might look something like this juicy bit of ironic gothic romance.
Limp and lifeless, this overlong and undercooked would-be blockbuster cannot focus on either the hard-edged realities or the magical mysteries it toys with.
This dreary Disneyfied inconsequence features all the bigotries of century-old pulp fiction and none of the romance, neither the sexual nor the adventurous kind…
If you love Gone with the Wind, you must see the restored version that’s new to video. The remastered soundtrack is crisp and clear, and Max Steiner’s lavish score sounds wonderful, but it’s the cleaned-up film stock that astounds: Victor Fleming’s 60-year-old movie looks like it was shot this year.