Michael says: “Claire, you had me for almost 90 minutes until Joe Alwyn’s Daniel blurts out a painfully earnest, but still sadly wooden ‘I love you,” to Margaret Qualley’s Trish in this erotic political thriller. I guffawed so suddenly that Eddy
Chris says: “Emily Watson always had a bit of an old soul in her and she’s aged brilliantly into the archetype you’d want to carry the weight of the world on her shoulders. She also adds heft to a beautifully
Michael says: “This ambitious science fiction film takes the viewer into a post-apocalyptic dystopia where animals have been wiped out, wealthy, privileged humans live in protected enclaves, the rest of humanity struggle for food, water and shelter in an inhospitable
Chris says: “A triumph of production design and tone rather than story, though Florence Pugh is so convincingly invested in it one’s almost inclined to actually buy it. And I’d leave it at that if it weren’t for those opening
Chris says: “At 160 minutes, it’s too much of a good thing (the hour-long chunks of the original miniseries were ideal in that regard) and I would’ve rather digested this as the two separate halves in which it presents itself.
Chris says: “The latest from writer/director James Gray is almost nakedly autobiographical. His 11-year-old alter ego, Paul (Banks Repeta) lives in Queens, 1980 (as Gray did), the younger son of a middle-class Jewish-American family whose grandfather (Anthony Hopkins) arrived at
Chris says: “Standard talking heads doc that’s nonetheless zippy thanks to the quality of the interviewees (you can never go wrong with Mel Brooks in one of these) and an abundance of archival photos and footage that tell you everything
Chris says: “Kind of an upper-middle class Scottish take on THE ARBOR with Alan Cumming lip-syncing the testimony of the main subject, who did not want to be filmed (for good reason, as you’ll see.) Altogether a fascinating subject and
Chris says: “Well, there is a shot of the moon. I didn’t count to see if there are, in fact, as many questions as the title promises. Regardless, much of this Greek feature is good and unique and ambitious, but,