“Carol” is a stunning romance film, elegant and elegiac and undeserving of schoolgirl whispers.
It’s hard to invest in these high-wire acts of daring when the characters that are performing them in the film are so forgettable that you can’t remember, or don’t care what happens to them.
Joy’s power doesn’t come from its elaborate cinematography, picturesque lighting, or perfectly paced script. It comes from the reality of the situation it is reconstructing for us on screen.
“The Danish Girl” is a beautiful yet superficial depiction of the life of a transgender pioneer.
“Breathe” is a film that is unafraid to redefine and break the schemas we have of teenage girls and their relationships.
“The Big Short” isn’t flashy or glamorous, but its eye-opening and gives its audience an inside look into the corruption of Wall Street.
Somewhere, Quentin Tarantino is sipping a glass of wine, refreshing Rotten Tomatoes and laughing as he watches the critics squirm.
“Sisters” follows the party movie formula perfectly, but while it loses points on originality, it gains them on scientifically proven funniness.
It’s a slight film very much built on mood, focused to a fault on the lonely mundanity of Noel’s life.
It isn’t a literary epic. It isn’t a known story. Then, what is it?