What makes Marriage Story unbalanced and faintly dishonest is that we end up rooting for the clueless male egomaniac.
Portrait is a masterly work of historical realism — about an enduring love between two women — done in high-flying poetic style.
The Lighthouse generates dark humor from the madness of toxic males gone rogue — wired to dominate, even as they self-destruct.
What remains so seductive about Almodovar is the way he replicates the movement of thought, creating a seamless weave between the story moving forward — rather minimal in this case — and the richer, more luminous past.
Three remarkable films that promise a bumper crop of world cinema yet to come at the NY Film Festival.
After the Wedding never finds its emotional rhythm; melodramatic confrontations about betrayals and past choices lurch clunkily along.
For all its bite, Fall is oddly endearing, too, leavening its harsh portrait of money-madness with aw-shucks moments of solidarity and kindness.
The White Crow, wisely, offers up no easy answers regarding why Rudolf Nureyev defected.