film criticism by maryann johanson | since 1997
There’s plenty of bruising action, but this fantastic slice of comic-book pulp emphasizes the humanity of its immortal heroes. Gina Prince-Bythewood elevates the familiar with emotional authenticity.
Ballerina turned whore-spy? This is like a cheap porn scenario, and the Hollywood gloss makes it worse. Risible yet tedious, yet another movie by men that thinks it’s critiquing misogyny yet is indistinguishable from it.
Moments of genuine tension are few in this would-be suspenseful thriller, which can’t settle on a state of mind for its protagonist, or for its own story.
Plausibility isn’t in the cards for this odious excuse for a thriller. This is all about sexy danger, for sociopathic, misogynistic values of “sexy danger.”
It seems that all (ie, a couple) of the hot guys onscreen at the moment are into reaping.
Ridiculously romantic in all the best ways, and more modern, more progressive, and even just plain more grownup that half the movies thrown at us today.
For its complicated female protagonist, wifehood and motherhood and new romance are only a part of her full, rich life. [This post is not behind the paywall.]
Romantic and funny and smart and wise and just plain different. This is a historical costume dramedy romp about gardening. How cool is that?
It’s been a while since we did some female gazing, and I am inspired to get back into it by Belgian cutie Matthias Schoenaerts.
An immediate and intimate tale of forbidden romance and other complex emotions and contradictory obligations. This ain’t history but a very human now.
