Of all the recent plays adapted into feature films, “The Father” stands tall as the most impressive. Equally impressive is the directorial debut of Florian Zeller, who unlike other first-time directors this season, displays natural cinematic gifts. “The Father” is a literal mind-bending mystery about a man suffering from dementia/Alzheimer’s, or is he? In a […]
This is a story written by writer/director Darius Cianfrance (Blue Valentine, The Place Beyond the Pines), and has all the emotional pull of his previous films. Sound of Metal is co-written and directed by Darius Marder—his frequent collaborator. Their films invariably have such substance it’s always a special treat to see them—not a treat in the sense
You don’t have to be Catholic, know anything about the Papacy, or even follow religion to be moved by Fernando Meirelles’ (“The Constant Gardner”) latest film. “Any journey can start with a mistake.” The Two Popes isn’t about mistakes, despite featuring the subplot of the first Pope to resign in over 700 years. It’s also
The opening scene, skateboarding through the dilapidated outskirts of San Francisco, is one of the most beautiful cinematic sequences of 2019. It’s the kind of defining imagery that will be used in end-of-the-year montages. It’s also a prelude to the visual wonders first-time feature filmmaker Joe Talbot has in store for the next two hours.
First time feature film director Laure de Clermont-Tonnerre is taking the same route as Chloé Zhao did last year with The Rider. She takes us into an unusual location for a modern day western, behind the bars of a prison cell. Produced by Robert Redford, The Mustang revives the notion of rehabilitation through animals, specifically
Films about famous painters have always proven a challenge for filmmakers to connect with audiences. Julian Schnabel doesn’t speak English well, so there was an even greater challenge for the director working with his American and European actors. However, he used that alienated feeling in the film as one of many techniques to portray Vincent
You might wish you never really watched Lynne Ramsey’s latest film You Were Never Really Here. Her first film since Need to Talk About Kevin (2011), she has a thing for long titles. My first reaction to this film, which debuted unfinished at Cannes in 2017 to standing ovations, was one of annoyance. For the
There was a huge wave of buzz after Darkest Hour debuted at Telluride. Not only just for the obvious best actor race, but even some mention of best picture. Mainstream American audiences will likely write this film off a stuffy historical drama where history plays out in a bunch of different rooms. It’s true that
A recent renaissance of overlooked twilight-aged actors getting their overdue leading role, has almost formed a sub-genre. The never nominated Stanton (The Green Mile) is the most recent addition to the club that includes Blythe Danner, Lily Tomlin and Sally Field. The big catch here is that Stanton, aged 91, passed away before the film
Not to diminish Sam Elliott’s performance in his new film The Hero, but writer/director Brett Haley creates a vehicle for the iconic actor that’s strikingly comparable with Crazy Heart. Haley cast Elliott in 2015’s I’ll See You in My Dreams, playing against type. That film, Haley’s best accomplishment to date, created a bond between the