Salon

Even if her writers block continues for another three decades, Lebowitz herself remains undeniably fascinating. Scorsese's documentary offers us a long overdue taste of her unique, queasily accurate perspectives on our culture -- always right, never fair and never disappointing.

Even though there were moments in The Magic Flute when I wondered if Branagh hadn't truly gone off his rocker, I found its audacity exhilarating. [11 Sep 2006]

Destroyer may position itself as a kind of redemption tale, but Kusama’s film is decidedly not feel-good. The music by Theodore Shapiro is deliberately set to jangle one’s nerves — it is definitely trying too hard — but like most of the film’s elements, it is just effective enough to create an impression.

Bale’s performance is absolutely letter perfect, and he disappears into the role.

This film really is Moore’s tour de force — a forceful, moving, and compelling call to action. A number of Michael Moore’s films have made history. This time he’s asking his audience to be the ones to do it.

Stronger is an actor’s movie. Gordon Green’s touch is subtle.

Cretton did fictionalize parts of the story, adding dramatic embellishments and narrative tissue. But his greatest feat may have been telling the story in such a way that viewer doesn’t leave the theater going, “Oh, some of these stories are so extreme, they might be slight fictionalization.” They’re too consumed by the ride.

The film itself is an admirable and empathetic work that does not romanticize anorexia or the young woman being ground into nothingness by the disease, as some have feared.

Though it’s not a film that will enter the canon of cinematic classics, it is nearly perfect, with ample heart, humor and tragedy-tinged humanity.

In Okja, Joon Ho takes animal cruelty and corporate capitalism to slaughter. And yet, he doesn’t preach or pander.