Film Critics' Picks
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... The Great Buster at heart is an opportunity to hang with Bogdanovich as he screens favorite sequences from ol’ stone face’s 1920s two- and five-reel masterpieces
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... This is less a film about Gary Hart — who, as played by Jackman, remains something of an enigma — than one about the operatives and volunteers and journalists swirling around his candidacy
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It documents with an incisive drabness the group sessions, garbled sermons and general shoddiness of Love in Action, the program that 19-year-old Jared (Lucas Hedges) gets enrolled in by his parents, played by Nicole Kidman and Russell Crowe
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There are some evergreen horror concepts, where the bare bones of the story are strong enough that they can be adapted and made over in multiple generations to express whatever fears and frustrations of the times in which they’re made
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That impulse — to continually stoke our fury with Twitter takes, cable news shouters and breaking news updates — gets lanced throughout The Oath, which writer-director-star Barinholtz has set in a now just as fevered as ours
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None of Ashby’s movies were remotely autobiographical — the projects were often instigated by other, bigger names such as Warren Beatty and Jane Fonda — and yet he still found something surprisingly personal in the material
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A tense, terse drama that plunges us headlong and handheld into the high-risk world of the space race in the 1960s, the film spares few moments for reflection or reverie
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Each beat of this plays out with exquisite delicacy, as does the exchange where the crook lays out, with exacting detail, how he’d rob this diner if it were a bank — and then takes it all back, letting her think he was joking
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The Hate U Give takes time to focus on the nuances of Starr’s life, on the ways Williamson has split her consciousness, on the effort of code-switching, on the layers of self that Starr must sort through in everyday interactions
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Its leads, feminist writer Rachel (Kathryn Hahn) and Richard (Paul Giamatti), a one-time wunderkind of no-budget theatrical productions, find themselves desperate to conceive a child even as the doctors they pay (with borrowed money) thousands to speak frankly of the odds
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The re-enactment and its subsequent cinematic portrayal were both the brainchild of Greene himself, and they mark the latest chapter in the career of a documentarian whose work keeps finding new ways to probe the gray area between authenticity and performance
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The filmmakers capture Honnold’s 2016 and 2017 attempts to complete the first “free solo” climb of these granite cliffs, and the suspense is thrilling, agonizing, perhaps indecent
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