Tim Jackson
The movie plays all sides equally, providing no answers, no favorites, no villains, no heroes. Everybody’s motives and ethics are in question.
The lightheartedness of the writing and Moore’s unkempt look are jarring, but the film effectively delivers lessons about progressive policies.
Here’s one more wrap-up of the year in film.
The Hateful Eight is Quentin Tarantino’s richly textured love letter to B movies.
Ruminations on age and memory are inevitably sunk deep into the flesh and the glue of personal relationships.
Brooklyn‘s script neatly consolidates the novel’s trials and tribulations without becoming too saccharine.
Alice Rohrwacher’s film, which won the Grand Prix at the 2014 Cannes Film Festival, is a rarity — it is genuinely magical.
Sara Silverman throws herself into depicting Laney’s mental illness and out-of-control life.
The actors draw you in, so there is no need for extraneous exposition as the film carefully examines the ironies of the Brazilian class system.
When they watch Black Mass what are Bostonians seeing? A strange blend of reality and mythology.
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