“I really wanted to NOT be not a drinker.”
Yann Demange’s film never sells the extraordinariness of its extraordinary subject.
Despite its sunny Connecticut suburb setting, it’s a straight-ahead noir, in its chatty, perverse, popcorn-y original recipe.
Ian McEwan’s adapted story is stagy and austere, taking place in gleaming flats and courtrooms, like a Nancy Meyers movie with more court wigs.
If we needed any proof that the methodology of Hollywood’s “Extreme Makeover: Gender Edition” is broken, Peppermint might be just the thing.
Sierra Burgess is an otherwise derivative teen comedy that aims to be Cyrano de Bergerac with smartphones and falls somewhere more boring and creepy.
Including Annihilation, Black Panther, The Rider, and The Death of Stalin.
There are only eight films directed by women in the official selection, and a lone woman director in this year’s 21-deep competition lineup.
I’m kidding? No, not really.
Plus the Coen brothers’ cowboy misfire, Mike Leigh’s rousing Peterloo, and more updates from the Venice Film Festival
Luca Guadagnino’s gruesome reimagining has neither style nor substance in common with Dario Argento’s giallo classic, and it’s all the better for it.
Emily Yoshida’s dispatches from the film festival.
Alfonso Cuarón’s most personal film yet is also his most ambitious.
The movie feels like a ‘90s romantic comedy, and not just because its leads are like a time warp in and of themselves.
The industry is only starting to catch up.
Close, Jonathan Pryce, a Nobel Prize, and a crumbling marriage: What more could you ask for?
This wasn’t just another awkward kiss, so why did the show treat it that way?
Netflix’s latest rom-com is on par with the best of them.
Crystal Moselle’s narrative follow-up to The Wolfpack has some lovely observations and a great real-life skater ensemble, but not a lot of substance.
They shoot giant sharks, don’t they?
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