
Ordinary World (aka Geezer) movie review: from manchild to midlife crisis
May be unique in the cinematic annals of manchildren in that its protagonist goes from overgrown adolescent to midlife crisis without any intervening adulthood.

May be unique in the cinematic annals of manchildren in that its protagonist goes from overgrown adolescent to midlife crisis without any intervening adulthood.

An imperfect adaptation of an uncinematic novel is nevertheless a challenging portrait of a woman as deeply screwed up as usually only men get to be onscreen.

Quick takes from the 60th London Film Festival, with public screenings from October 5th-16th, 2016.

There’s not a lot new here, but the vintage footage is fab, as is the much-needed reminder that the supposedly innocent past was hardly innocent at all.

Riveting and repulsive, with a claustrophobic perspective that mirrors its subjects: all id, all in the moment. But it’s also shallow, all on the surface.

We’ve never seen this before, multiple female characters open about ambition, power, and money. But representation alone does not make for a gripping tale.

Two movies about women at crossroads in their lives explore the sort of personal crisis — lost mojo! — typically reserved for men onscreen.

Kate McKinnon’s gleefully reckless physicist is brainy comic mayhem, unlike any female character we’ve seen before. And there are more reasons to cheer.

Hugely watchable cautionary tale of Shakespearean proportions about 21st-century politics. Beautifully, nastily perfect in its ironies and twists.

Charming. A cleverly constructed and amusingly rendered fantasy adventure that sings with a sweet, wistful devotion to home, family, and friendship.