KINDS OF KINDNESS (R) Dir. Yorgos Lanthimos Lanthimos’ absurdist comedy triptych examines the bizarre, ugly aspects of the human condition and our struggle to accept and control our existence – complete with finger-severing, sweat-licking, cringe-worthy laughs (4.0 / 5.0) B- Yorgos Lanthimos movies are strange. That statement almost goes without saying; from The Lobster […]
One of the most audacious films of the year might also be one of the most nominated this season. Director today, auteur tomorrow, Yorgos Lanthimos, has a reputation for pushing the envelope in his cinematic choices with what the audience can and will accept. “The Killing of a Sacred Deer,” “The Lobster,” and “The Favourite”
It’s hard to see this as anything but horrible. We have the tired old theme of two women fighting with one another using underhanded means. OK, but not only that, the whole exercise is set up to make room for the next installment, which is, probably, further manifestations of the same cat fight. Little semblance of creativity
Ten years later, cast and crew return for the Zombieland sequel, Double Tap. The better of two sequels opening this week in cinemas, this one builds from it’s original premise without compromising too much of the originality that made it work in the first place. Unfortunately both sequels, Zombieland and Maleficent attempt to recycle plot
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
I know this looks like a movie about tennis or gender equality. It’s both and neither at the same time. Battle of the Sexes has recent Oscar winner Stone very much in the lead, and Carell, once again teaming with his Little Miss Sunshine directors for another oddball supporting performance. Like the best movies seemingly
Damien Chazelle’s Whiplash follow-up, a musical set to the tune of modern day life in Los Angeles, didn’t put me under whatever spell early festival goers experienced. The rarity of a big budget musical is always something to celebrate. Chazelle once again delivers an original screenplay and carries over the jazz theme. There are beautiful
Cameron Crowe (Elizabethtown, We Bought a Zoo) gets everything wrong about his Hawaii that The Descendants director Alexander Payne got so right. We begin with vintage Hawaiian footage, alongside military and space footage, warning us of multiple storylines. Crowe assembled another impressive cast, led by Oscar nominee Bradley Cooper (American Sniper) in another military role. Aloha is a sad film
