Thompson and screenwriter Deutch center their young women’s choices, desires, mistakes, disappointments and work in a welcome parody of Hollywood’s treatment of young women
Put your summer on ice.
The calamities come with accelerating speed, and everything happens so quickly that you don’t even have time to wonder if you’re having fun or not
Like the shows she’s considering, Bolin soon expands out from comely corpses to survey a wider world, in this case many of her pop obsessions …
Her daughter Madelyn wrote and scored the film; Madelyn stars in it alongside Zoey, and Thompson appears with her daughters in the featured role of — you guessed it — their mother
CinemaQ, Denver’s premier queer film festival, announced its 2018 slate of movies.
… The primates of the first section live in a world without tools, and thus don’t know what to make of them; the future humans of the later sections live at the mercy of their tools, and thus don’t question them — until, finally, they do
Several grown men have been playing the same game of tag for the last three decades, spending one month each year doing everything they can to avoid one another, while also doing everything they can to secretly find and touch one another
Set in Cannes (which, big surprise, is also where it premiered), Claire’s Camera opens with three scenes depicting the firing of a young woman, Man-hee (Kim Min-hee), from her job at a Korean film sales company
The main character, this time named Frank (Nick Offerman), like (High) Fidelity‘s Rob, owns a record store and lectures women about music as if they don’t have opinions — or ears — of their own
Now, a slick young billionaire (voiced by Bob Odenkirk) has a plan to make superheroes popular (and legal) again by televising their exploits, and chooses Elastigirl over Mr. Incredible as the face of this new campaign …
From the very first scene, Pose boasts a purposefully slick veneer of artificiality — it’s a little too art-directed, a romanticized version of poverty straight from the set of Rent
Through archival footage of Rogers both on and off the set of his iconic show, as well as interviews with his family, friends and former crew members, Won’t You Be My Neighbor? draws a flattering yet complex portrait of its subject, who died of cancer in 2003
Simply put, the clockwork heist that Ocean’s 8 promises (and, by its end, dazzles with) limits the film’s ability to offer what you might actually want from it: the chance to relish this cast
… While John Wick is all action, no talk, Artemis is the polar opposite, Pearce stretching out the will-they-won’t-they (kill each other) tension as long as possible, until every violent criminal is trapped in this hotel
Boom makes Basquiat out to be an on-the-fringe Zelig-like character, attempting to get his foot into a bustling arts scene where the inner-city people were beginning to mingle with the downtown folk
The horror of Hereditary lays not just in scary images but in creeping sense that free will is a joke, and bad luck can be as inescapable as a family curse
In both the archives and in Novack’s footage, Talley appears so fully himself in every one of his garishly fascinating caftans that it’s difficult not to admire him or the endless knowledge of history and design (specifically Russian) he can spout from on cue
Filmworker walks a fine line tonally, as it reflects both Vitali’s admiration and awe of Kubrick, while also calling into question the way the director allowed his many projects to devour the lives of those who worked for him as well
For all its jittery heist drama, American Animals is, above all else, an accidental study in just how much white kids can get away with and still be welcomed back into society
Both series unfold from the perspective of the “bad guys,” and both juxtapose a life of crime with the mundane everyday — for Barry, the world of desperately aspiring Los Angeles actors, and for The Americans, the Jennings’ domestic life …
Teeming with abandoned buildings full of thugs to be dispatched, ruled over by shadow corporations and wicked artificial intelligence, Whannell’s film plays like the smarter-than-you’d-think 2018 version of some 1988 kill-’em-all VHS cheapie
