Peg Aloi
William Friedkin’s “The Exorcist” stands, 50 years on, as a primer on how to lure viewers in with striking, haunting imagery as a prelude to a previously unimaginable cinematic journey.
Despite the lack of background or explanation for the occult item at the center of “Talk to Me,” I found it relatively easy to suspend my disbelief and become caught up in the story’s momentum.
Director Greta Gerwig’s hard-edged but affectionate paean to Barbie is sweeter than it is satirical, slightly more perky than political.
“The Lesson” is well-crafted, infused with nervy suspense and an almost Gothic sense of unease.
This incisive drama set during the height of Thatcherism doesn’t need to amplify its relevance.
This year’s version of the iconic festival features a number of premieres, some restorations, and some screenings of well-loved cult classics, as well as a number of special guests.
The Lost King contains perhaps too many calculated moments of sentimental synchronicity. Still, it manages to soar, thanks to the excellent performance of its lead, Sally Hawkins.
In terms of genre, I would describe Wildflower as a sort of Hallmark Channel-style drama, a quirky but heartwarming tale of a scrappy girl who overcomes the odds to help her family stay together.
A bit of spring cleaning this time around, with recommendations of some fairly recent viewing choices you may have missed.
My second crop of Sundance screenings features three films that are all about women who, on some level, retreat from certain aspects of their lives: their pasts, their trauma, their public persona.
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