The Traitor is a sprawling exposé that covers decades of criminal escapades, all of it seen through the eyes of a man who refuses to consider himself an informer.

While some of the core fundamentals are strong, and even though Affleck dominates the dramatic paint as if he were Bill Walton grabbing another rebound, The Way Back emotionally double-dribbles far too often before ultimately clanking the last shot off the front of the iron just as time expires.

“Sometimes it was overwhelming in all the best of ways. There was just so much possibility. When you’re just in the zone and in there with your camera, you have to take the opportunity to trust your eye as a filmmaker.”
– Olympic Dreams director Jeremy Teicher

The Call of the Wild proved to be an outdoor adventure worth going on, and I can’t help but think my 10-year-old self would have seen this in the theatre a good half-dozen times if my parents would have permitted me to do so.

I cannot get angry or feel let down by what Downhill is not (most obviously that it isn’t as deep or as profound as Force Majeure was). I can only judge the film for what it actually is, and on that front I think Faxon and Rash have done a reasonably nice job.

The first narrative feature to be allowed to shoot inside the Olympic Athletes Village, Olympic Dreams is a strong, emotionally-pure indie drama that took my breath away.

Portrait of a Lady on Fire is more than a historical romance. It is more than a feminist drama drawing a metaphorical line from the distant past to the here and now.

1917 is magnificent.

This might not be Victor Hugo’s story, but that doesn’t mean Les Misérables doesn’t still bear the author’s imprint, the ending of this story a mixture of tragedy, compromise, disappointment and, yes, even hope that leaves many questions unanswered and the future for all involved painfully uncertain.