Yet Fiennes’ eye is a dynamic one, seeing right to the heart of Morgan’s dexterous script with sharply acute meticulousness. When Jones’ stupendous performance is thrown into the mix The Invisible Woman materializes into greatness, the best of times to be found sifting through its romantic quagmire as gifted author and imprudent admirer look up into one another’s eyes and wonder where the mutual infatuations will lead them.
Mandela: Long Walk to Freedom is a good movie. It is not, sad to say, a great one.
Thurber’s story is still the only classic element, but that doesn’t make the film less worthwhile. While fantasy and reality don’t always inhabit the same plane with comforting ease the fact the conversation they’re having remains worth having no matter what is a superlative daydream I didn’t want to see come to an end.
The Wolf of Wall Street is the kind of movie I feel like I need to watch multiple times in order to get a proper hold of. It’s disgusting central figures and the way it looks at them with such dispassionate clarity is as off-putting and as ugly as it should be, the bad taste building in my mouth as indispensable as it is unexpected.
Her a Timely Spectacle of Intimacy, Heartbreak and Understanding Spike Jonze is as singular and as original a filmmaker as there is working today. The man behind such iridescent achievements as Being John Malkovich and Adaptation, the idiosyncratic filmmaker has outdone himself with the beguiling, multifaceted science fiction-influenced love story Her. Set in a Los […]
Inside Llewyn Davis revels in its own lyrical idiosyncrasies, each note a tuneful reminder that the songs we sing secretly to ourselves are oftentimes full of bigger lies than the ones we happily hum out loud for the rest of the world to mindlessly listen to.
Walking with Dinosaurs is an uneasy combination of scientific exploration, documentary and fictional adventure, and as visually marvelous as much of this is the emotional content is so prehistoric it might as well be extinct.
I didn’t care for Anchorman 2. But unlike its predecessor I didn’t outright detest it, either. While there are some funny bits, while many of the buried satirical sentiments do hit their mark, overall Ferrell’s latest scattershot comedic enterprise just isn’t my particular brand of Scotch.
[American Hustle] plays like some bizarre, retro 70s-style amalgam of Dog Day Afternoon, Dirty Rotten Scoundrels, Donnie Brasco and Ocean’s Eleven, Russell mashing up genres and styles with skillfully energetic enthusiasm. He and Singer use a real F.B.I. sting operation as basis to go hog wild, taking a gifted ensemble of actors and giving them complicated characters to inhabit where nothing is ever what it seems and anything can happen to the lot of them at any given time.