Month: October 2018



Literature is littered with novels about white people betrayed by the post-war society. At a time when the American government was doing more than they ever had to invest in its people, lots of minorities fellRead Full Review


Can You Ever Forgive Me?

Why is it that we do not appreciate the talent of wonderful comedic performers until they’ve proven themselves of equal measure in dramatic roles? Why is funny seen as cheaper than morose or sentimental? IRead Full Review



The less you know about Burning is probably the better. The film is based on a Haruki Murakami short story, and the adaptation from Lee Chang-dong goes from a complicated love triangle to a boilerplate mysteryRead Full Review


Beautiful Boy

The memoirs of David and Nic Sheff are the source material for the script of Beautiful Boy, a dreamy addiction narrative told from perspective of the addict and the addict’s father simultaneously. Director Felix Von GroeningenRead Full Review


First Man

Neil Armstrong is a name so ingrained into American history that it distracts from the fact that he willingly avoided any opportunity to show an ounce of personality or charisma. He was an incredibly private,Read Full Review


The Old Man & the Gun

Robert Redford has been so famous and so great for so long that any movie that he makes these days is about the mythology of his stardom. The reason David Lowery’s latest film, The Old Man &Read Full Review


A Star is Born

There’s a very specific kind of Hollywood epic melodrama that A Star is Born is conjuring, one that used to dominate theaters with its starpower and saccharine plot construction. It is, of course, the fourth versionRead Full Review


Private Life

The families in Private Life – the first film from Tamara Jenkins since The Savages in 2007 – are disgruntled and argumentative, worn down by the familiarity of partnership. They have their reasons. In the case ofRead Full Review


Monsters and Men

The three tales in Monsters and Men – the debut feature from up-and-coming filmmaker Reinaldo Marcus Green – weave into each other seamlessly, without mention or pause, without title cards to announce the shift. All threeRead Full Review