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.
Director Greta Gerwig’s brilliant cast succeed in making Little Women a feel-good escapist movie with brains.
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.