Winner of seven Cesars, this mordant portrait of the corrupt Parisian press mid 19th century, along with the commodification of just about everything, speaks loudly to the internet era.
The Northman is grounded in a manically precise capture of the Nordic world of the 9th century AD, but refracted through the lens of a whacked-out visionary in a spew of eye-popping images.
For a movie starring a kid, this one is adroitly crafted and goes easy on the treacle.
No woman, I’m willing to bet, could have filmed the sex scenes in Red Rocket. She would have cracked up laughing or thrown up.
Pedro Almodovar’s latest, Parallel Mothers, sets up a dialectic between women’s regenerative powers and the blood-soaked history of pre-WWII Spain.
Crisis takes on the opioid crisis – which has killed more people than the war in Vietnam — and gives corporate villainy (Big Pharma) the Hollywood treatment.
Defiant and tonally offbeat, French Exit mirrors, in a sense, its female protagonist, who doesn’t give a damn what the world thinks of her.
The excitement of these films – perhaps the word frisson would not be amiss – is that these women are envisioned as explorers in the land of Eros, map-makers of new terrain, discovering and inventing love as they go.
The terrific The Climb looks at bro-bonding in a way you’ve never quite seen.
What makes The Traitor ultimately worth watching is its epic sweep, the deft way director Marco Bellocchio and his below-the-credits team carve out the dramatic highlights of Italy’s twenty year war with the Cosa Nostra.