Little of consequence happens in Downton Abbey: A New Era, but that’s sort of the point.
“What we know for a fact is that making abortion illegal does not stop women from seeking abortions, it just keeps them from getting safe abortions.”
Anaïs in Love is as magnetic as its protagonist.
The no-holds-barred approach to the [abortion] procedure and its aftermath is the kind of interpretation of real life that great cinema does best.
No amount of cowboy bravado could pump life into director Naveen Chathappuram’s debut film.
In the context of film, silence helps us appreciate the beauty and gift that is our sense of sight.
The film is the thing, the guiding force behind what they do.
Philip Glass’s soundtrack for piano, pipe organ, and chorus mirrors the repetition in the summoning spell.
Those once-pestering words on the bottom of television screens I now see as an opportunity to refresh and expand my communication.
This film is not for the fragile heart.
While this may not rank with Son of Saul or Raging Bull in the top rung, The Survivor is not a film to take for granted.
Veteran director and cult icon Sam Raimi brings us a vision of Dr. Strange that thankfully shakes off some of the weight of the ever-expanding Marvel universe.
I left feeling hollow and angry. Like I’d been manipulated using methods pioneered and perfected under the long-gone Soviet regime of my childhood.
The Northman is not a bad film. . . . But I can’t help but be disappointed that Eggers took this politically and socially fraught figure, the Viking, and played it so straight.
The Reader caught up with Kerman to talk about what connects South Side and Bust Down, being reasonable in an insane world, and working with Freddie Gibbs.