Chris says: “Pawel Pawlikowski’s follow-up to IDA is cut from the same fine-polished glass: set in post-war Poland and shot in 1:33 black-and-white by cinematographer Łukasz Żal, it spans a fifteen-year period (leading up to roughly the time of the
Chris says: “This was my favorite Hornby novel since High Fidelity (he’s at his best writing about music), but as film adaptations go, it’s no HIGH FIDELITY. It doesn’t fall flat, exactly—how it could it with such ideal casting as
Chris says: “Gilda Radner may not have been the most original or technically accomplished comedienne, but she was unquestionably one of the most likable–as the cliche goes, she lit up whatever room she entered. Lisa D’Apolito’s sympathetic documentary gets this
Michael says: “WEIGHTLESS is notable to me for giving the handsome and talented Alessandro Nivola a challenging leading role as Joel, a troubled man working in a landfill in rural America. There’s reference to mental illness, and an occasional explosion
Chris says: “It’s not so much that Melissa McCarthy is a revelation here as that she finally has a role that allows her to be more than just silly or weird (although she’s occasionally those things too.) The real-life story
Beth Ca says: “I saw this film at the Provincetown Film Festival this summer and loved it. It’s a spectacular film, especially with the editing and visual design (it is winning awards for editing, and other categories). The film uses
Michael says: “As many of us are viewing films for nomination purposes, which is less than a month away, I’ d like to put in a plug for Jeremiah Zagar’s WE THE ANIMALS, now available on streaming on Amazon., and
Michael says: “THE INTERVENTION also has a summary that might give you pause.Ruby and Peter join three other couples on a holiday weekend at a beautiful family home in the bayou, but discover that their friend Annie has engineered the
Chris says: “Barry Jenkins’ follow-up to MOONLIGHT is nearly that film’s sequel in that it further showcases his considerably humane approach to character and story even as he adapts someone else’s text (in this case, a James Baldwin novel.) The
Brett says: “VOX LUX is a demolition derby of themes that keep colliding after the initial premise is introduced. Just when the viewer thinks that he/she has a finger on what this movie is, another head-on impact from writer/director Brady