Ultimately a story about brotherhood, friendship and the insecurity of life in a violent place, the film injects a sweetness and innocence into the genre, mostly through one stellar performance by John C. Reilly
As her marriage opens up, and Colette begins to take lovers of her own, Knightley summons up a moving sense of both relief and recklessness
Radner narrates, in a way, through her own audio diaries, plus some snippets of interviews and judicious excerpts from the audiobook of her perfectly titled — and just-barely posthumous — memoir, It’s Always Something
Roth’s film is a funhouse throwback, a scare-the-kids goof with a top-shelf cast, an antique shop’s worth of creepy windup dolls and more heart than you might expect — and, like those jack-o’-lanterns, it’s got more teeth, too
Despite the killing-spree craziness of its final reels, much of the film is a how-the-kids-live-now potboiler, replete with guileless dirty talk and immense bedroom windows that seem to have been installed with peeping in mind
But 11/9 plays not like a much-needed blast of truth but like an all-purpose Michael Moore sequel, a self-congratulatory follow-up to several of his films, with Parkland material in the Bowling for Columbine vein, references to Sicko and even excerpts from 1989’s Roger & Me
There’s a sense that Fogelman … has been inspired in part by the broken narratives of Charlie Kaufman, as the first 10 minutes of this film feature a story-within-a-story meta fake-out with Jackson as himself, narrating the action of a screenplay written by forlorn drunk Will (Isaac)
It is to Hawke’s credit that he has invested what clout he has gathered in his industry into this study of an artist who never gathered much clout at all — and that the resulting film has the warm, weary rhythms of Foley’s own songs
… After a somewhat compelling hour suggesting all the reasons that Borden might be willing to kill, Macneill and screenwriter Bryce Kass tantalize with the possibility of their subject’s innocence
Cosmatos delivers (as fans say) on the blood and guts, on cathartic slaughter, on the disreputable pleasure of watching a bereaved hero regard a new weapon and envision nasty uses for it
This latest entry, directed and co-written by onetime wise-ass action screenplay wunderkind Shane Black (Iron Man 3, The Nice Guys), wears its self-aware humor as a talisman against the predictability of its plot and the gratuitousness of its carnage
Again, Gyllenhaal is the main draw here, turning in a career-best performance, though the emphasis on film makes The Deuce’s sophomore season more self-reflexive and more focused than the first
The film, I suspect, will have some minor historical value, but I fear that watching Stern well up on election night won’t offer much insight to people alive now
White Boy Rick has reams of story to tear through, but at heart it’s a family drama, one more concerned with the Wershes than with crack, the feds or Detroit itself
Decamping to the remote village of Chinchero in Peru, 14,000 feet up in the Andes, with a crew, some of his closest pals, and (apparently) a mountain of drugs, Hopper improvised much of The Last Movie
For the family at its heart, everything seems to be in constant, even terrifying disorder, and yet nothing really changes — not after one son discovers he’s different, not even after dad knocks out mom’s teeth
This is a portrait of a decades-long partnership coming to a head but also of the American literary community reckoning with what so many know to be true: Women are still not seen as “serious” writers or contenders for major prizes
What becomes clear, watching McEnroe harangue line judges and intrusive photographers, is that the rages were birthed in a disappointed agony, a disgust at a world with inhabitants who persistently failed to see what he did
The story follows a gang of misfit criminals escaping to a hideout carved into the rocky Italian cliffside, where an eccentric, society-hating artist, Luce (Elina Löwensohn), and her guests sunbathe and make bullet-ridden art
… Like that of I Love You, America, Cohen’s apparent goal of exploring America’s multitudes belies his show’s actual focus on belittling, baiting or simply giving a platform to white Americans in particular
… Mukwege’s City of Joy is both a hospital for treating physical and emotional wounds and also a sanctuary where victims become leaders of a battle in a fight for humanity
Young Anna (Galatea Bellugi), intense and charismatic in the manner of another teenaged French seer, reports that Mary has imparted to her a message calling for the building of a church and caring for the world’s poor
