Despite internationally acclaimed director Yorgos Lanthimos not penning the script this time, “The Favourite” is still very much one of his films. The severe divisiveness among critics caused by “The Lobster” and “The Killing of a Sacred Deer” is lessened in “The Favourite,” which started garnering Oscar buzz the moment it debuted at the Venice Film Festival. It’s […]
Director Roger Michell’s films can be quite good or forgettable depending on what he is working with. His latest was very anticipated on my part, the adaptation of Daphne Du Maurier’s novel. Maurier is the nearly forgotten author behind two of Hitchcock’s best adaptations The Birds and Rebecca. The first trailer for My Cousin Rachel
Credit must be paid to Oscar winner Rachel Weisz (The Lobster, The Light Between Oceans, Complete Unknown) who debuts her fourth feature in 2016. More impressively it’s the second in which she is the solo lead. The rarity in which an actress has not one, but two leading roles in the same year is a
An epic novel, Western Australia, a lighthouse, and Oscar winner Alicia Vikander (“The Danish Girl”) seemed like the perfect recipe (at least for me) for one of the best films of the year. When the emotionally riveting trailer for “The Light Between Oceans” debuted in spring, it seemed director Derek Cianfrance might have another Oscar
It’s a good time to be a Rachel Weisz fan. Just this week she has not one, but two films opening. It’s been a while since the Oscar winning actress had been the lead of a film, but Ms. Daniel Craig is certainly overdue and talented enough to hold a film together. Joshua Marston is
Yorgos Lanthimos’s first English language film will stand out as 2016’s most peculiar film (although it played most film festivals last year). It should ignite fans of films like Eternal Sunshine of the Spotless Mind or I Heart Huckabees, as it seeks to bewilder the romance genre to an unrecognizable point. Its weirdness is its
Paolo Sorrentino presents Youth much like a classic Italian filmmaker from the 1950’s. It’s an art film for sure, but Sorrentino’s original script offers much more than just stunning Switzerland visuals and curious cinematic metaphors.