“Jolie didn’t make a bad movie, and ‘Unbroken’ might have even won Best Picture 20 years ago, but you can’t throw the star under the bus — especially in a biopic — and let the antagonist destroy one of the most powerful scenes.”
“Witherspoon delivers a powerhouse performance in ‘Wild.'”
“Angus MacLachlan’s ‘Goodbye to All That’ is a witty romance with real-life consequences for millennials to consider.”
“‘Copenhagen’ surprised me like no other film in 2014…”
“An additional 30 minutes would have benefitted ‘Hellaware,’ as Bilandic’s characters unfortunately lack substance, much like his weak portrayal of rural America.”
“With ‘Comet,’ Sam Esmail offers a fresh take on romance and allows his stars to shine with ingenuous performances.”
“The more outlandish the dialogue becomes, the more Kishi highlights his tight screenwriting with co-scribe Sofía Gómez-Córdova.”
“Matti shows no fear by destroying genre cliches in ‘On the Job,’ and his wandering camera opens up the world of Metro Manila while expressing how utterly disposable humans can be under corrupt leadership.”
“Lawrence is simply marvelous again and delivers a surprisingly beautiful vocal performance that demonstrates her well-rounded talent as a performer.”
“With such a powerful concoction of unconventional narrative techniques, ‘Thou Wast Mild and Lovely’ dares the viewer to touch the flame; a 95 minute summer poem of suppressed emotions and blistering paranoia.”
“Asunción Balaguer carries ‘Luisa Is Not Home’ with her gentle performance…”
“The crystal-clear visuals of ‘Sea Child’ transcend into a an aquatic journey of surrealism…”
“‘Vanishing Waves’ boasts a touch of Andrei Tarkovsky, but I found many similarities to the psychosexual thrillers of French director Alain Robbe-Grillet, most notably ‘Eden and After’ (1970) and ‘Successive Slidings of Pleasure’ (1974).”
Q.V. Hough reviews Jean-Marc Vallée’s ‘Café de Flore.’
Q.V. Hough reviews David Ayer’s WWII drama, “Fury.”