Saint Frances finds grace, humor, and an ode to the female body in a familiar indie premise

The possibility that our futures hold nothing remarkable for us can seem like a nightmare. In Saint Frances, 34-year-old deadbeat Bridget (Kelly O’Sullivan) is well aware she’s not exactly where she should be in life, and anxiety over the fact cripples her self-esteem. Old friends are getting married, buying houses,… Read more… Source link

The Whistlers is a delectable deadpan noir

In the opening scene of Corneliu Porumboiu’s The Whistlers, a middle-aged Romanian cop arrives in the Canary Islands to the mocking strains of Iggy Pop’s “The Passenger.” It’s not official police business that has brought him here. In trying to supplement his meager 1,000 euro monthly salary, the stolid Bucharest… Read more… Source link

Pixar loses a little of the magic with Onward

Just about every Pixar movie transports audiences to a shiny new world of wonder: the depths of the ocean, the deepest reaches of space, the inside of the human brain. But the key to the studio’s enduring popularity may be the way it tethers those meticulously crafted backdrops to stories of relatable emotion and… Read

The spooky doll is an oddball delight, but Brahms: The Boy II is not

Brahms, the murderous doll with the angelic porcelain face, is not yet a horror icon on par with Freddy, Jason, or even that indecorous Annabelle. But Brahms: The Boy II makes a half-valiant, half-misguided attempt to continue the legacy of The Boy, a minor hit from four years ago, which involves addressing (or, for… Read

A holy man fakes it until he makes it in the moving, Oscar-nominated Corpus Christi

Characters who impersonate religious figures tend to be a source of comedy—think of Whoopi Goldberg posing as a nun in Sister Act, or Robert De Niro and Sean Penn mugging up a storm as fake priests in We’re No Angels. There’s nothing amusing at all, however, about Corpus Christi, Poland’s submission to this year’s… Read

No fantasies will be fulfilled by Blumhouse’s horror-leaning reboot of Fantasy Island

In its desperation to revive every scrap of dormant intellectual property, regardless of audience demand or interest, Hollywood has arrived at last to Fantasy Island. Maybe you remember Fantasy Island, though no one would blame you if you didn’t. Airing on ABC from 1977 until 1984, the Aaron Spelling TV series starred… Read more… Source

The Berlin prizewinner I Was At Home, But… might be too inscrutable for its own good

What does it mean when we call something opaque? The word seems to fit the work of the German director Angela Schanelec, despite the lucid visual qualities of her style: the crisply defined compositions, stiff posing, and cold, unfiltered light. There’s rarely any ambiguity about what the audience is looking at. Her… Read more… Source

Being shot at the Olympics is about all the Nick Kroll romance Olympic Dreams has going for it

Shot during the 2018 Winter games in Pyeongchang, Olympic Dreams plays a bit like Escape From Tomorrow, the no-budget indie that was notable exclusively for having been shot guerrilla-style on location at Disney World and Epcot. In this case, the filmmakers had express permission from the powers that be, yet there’s… Read more… Source link

Christmas comes late with the subzero horror and creeping religious dread of The Lodge

In foreboding square footage, and certainly in volume of naked old crones climbing out of bathtubs, the lodge of The Lodge has nothing on The Overlook. All the same, a comparable chill blows through frosted windows and down shorter, less opulent corridors. The Shining isn’t the only wintry classic that might leap to… Read more…

Taboo romance gets a clumsy workout in And Then We Danced

“There is no sex in Georgian dance,” declares a gruff dance instructor named Aliko (Kakha Gogidze) at the beginning of Levan Akin’s And Then We Danced. The line’s obvious irony inspires titters from his students, who are uniformly young, hot, and fit; as we will soon learn, sex is just about the only thing they