Marilyn Monroe is the American public’s white whale, that which we seek to dominate and claim as our own.
Jones does her best with what she has to work with, and the movie may still strike an emotional chord with viewers if they don’t look too closely.
Xavier Giannoli’s film is hilarious and always moving with vivid colors and rapid-fire narration that in another movie might feel heavy-handed but here is a guiding force that gives a fascinating quasi-history lesson.
There’s a Malickian quality to the film that’s cheesy at moments, and the disjointed chronology is more aggravating than affecting.
Director Kogonada’s sophomore film explores a subtly futuristic world where artificial intelligence is commonplace.
Theatre Above the Law produces an Elaine May deep cut.
Instead, it settles for some bad fake interpretive-dance sex.
A bold new era for earwax research has dawned.
But A Streetcar Named Desire deserves better.
Spike Jonze’s Her invites a subjective response.
This Is the End is the latest mainstream comedy to take a casual attitude toward getting high.
A dark adaptation of the original fairy tale from Redmoon Theater alums