Bo Burnham, in his first feature effort, has written and directed the perfect John Hughes movie intended for parents.
The triplets are natural story tellers and actors and the sad reveal of their post eighties fame unravels with regrets, poignancy, pathos and an overpowering sense of their losses and their tragedy.
Blindspotting is pure Oakland, pure there there. It drills down into the city’s essence and finds not just a physical place but the perfect metaphor for a divided and disenchanted America struggling and resisting change.
Sadly, Callahan’s cartoons vividly animated and sketched are receded as the art becomes background to the Oedipal drama of a son successfully overcoming his abandonment issues and alcoholism.
Ben Foster’s performance in Leave No Trace is frustrating and heartbreaking to watch. Foster plays Will a former vet living with PTSD and a widower with a 13 year old daughter Tom (Thomasin Harcourt McKenzie) who chooses to live off the grid in a constant survivalist state in an Oregon national park. The tragic cycle…
Lynne Ramsey who made the hallucinogenic school violence themed fantasmagoria We Need to Talk About Kevin returns to direct after a five year hiatus. Like Kevin, Here is an impressionistic tonal assault of over saturated images, amped up acoustic exaggeration and minimalistic acting.
Damsel is probably the best of a trio of feminist Westerns to grace the big and and small screen this year.
That drama between idealism and family legacy pushes Chappaquiddick into some uncomfortable corners that changes history.
Disobedience, a lesbian psychodrama romance set in an Orthodox Jewish community in North London, is Lelio’s follow up to A Fantastic Woman, and it is as stubbornly obedient as its title suggests it should be transgressive.