Arts & Culture

But 11/9 plays not like a much-needed blast of truth but like an all-purpose Michael Moore sequel, a self-congratulatory follow-up to several of his films, with Parkland material in the Bowling for Columbine vein, references to Sicko and even excerpts from 1989’s Roger & Me

There’s a sense that Fogelman … has been inspired in part by the broken narratives of Charlie Kaufman, as the first 10 minutes of this film feature a story-within-a-story meta fake-out with Jackson as himself, narrating the action of a screenplay written by forlorn drunk Will (Isaac)

It is to Hawke’s credit that he has invested what clout he has gathered in his industry into this study of an artist who never gathered much clout at all — and that the resulting film has the warm, weary rhythms of Foley’s own songs

… After a somewhat compelling hour suggesting all the reasons that Borden might be willing to kill, Macneill and screenwriter Bryce Kass tantalize with the possibility of their subject’s innocence

Cosmatos delivers (as fans say) on the blood and guts, on cathartic slaughter, on the disreputable pleasure of watching a bereaved hero regard a new weapon and envision nasty uses for it

This latest entry, directed and co-written by onetime wise-ass action screenplay wunderkind Shane Black (Iron Man 3, The Nice Guys), wears its self-aware humor as a talisman against the predictability of its plot and the gratuitousness of its carnage

Again, Gyllenhaal is the main draw here, turning in a career-best performance, though the emphasis on film makes The Deuce’s sophomore season more self-reflexive and more focused than the first