Erica Abeel
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.
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Director Greta Gerwig’s brilliant cast succeed in making Little Women a feel-good escapist movie with brains.
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What makes Marriage Story unbalanced and faintly dishonest is that we end up rooting for the clueless male egomaniac.
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Portrait is a masterly work of historical realism — about an enduring love between two women — done in high-flying poetic style.
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The Lighthouse generates dark humor from the madness of toxic males gone rogue — wired to dominate, even as they self-destruct.
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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.
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Three remarkable films that promise a bumper crop of world cinema yet to come at the NY Film Festival.
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After the Wedding never finds its emotional rhythm; melodramatic confrontations about betrayals and past choices lurch clunkily along.
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For all its bite, Fall is oddly endearing, too, leavening its harsh portrait of money-madness with aw-shucks moments of solidarity and kindness.
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The White Crow, wisely, offers up no easy answers regarding why Rudolf Nureyev defected.
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Music Commentary: New Orleans Jazz and Heritage Fest versus French Quarter Fest