“Shaping the narrative around the complexities of female friendship and the pressures wrought by the financial crisis of 2008, Scafaria convincingly paints a psychologically resonant portrait that allows the viewer a seat on the inside looking out…”
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“For a filmmaker usually so concerned with the social causes of injustice, ‘The Offence’ is remarkably focused on the troubled psychology of its central character.”
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“Nothing about ‘Ford v Ferrari’ reeks of studio interference, perhaps owing to the fact that the script hews so closely to screenwriting conventions that worked well for decades.”
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“‘It Chapter Two’ ends up as a self-conscious adolescent that nervously giggles any time it’s on the verge of doing something profound; a cringe-inducing ‘no homo’ walk-back writ large to avoid accusations of nastiness or tenderness.”
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“For a story that engages with tough, thorny questions of redemption and reconciliation, it’s a welcome development to have a filmmaker look upwards, not inwards.”
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“Esterhazy’s direction is consistently flat and uninspired given the nonstop opportunities for twisted weirdness, but the failure of ‘The Banana Splits Movie’ can be pinned almost entirely on the sawdust-packed script…”
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“While ‘High Flying Bird’ may seem uneven at first glance, one has to appreciate that Soderbergh directly addresses controversial societal topics that always touch a nerve in America.”
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“Noé’s work has always been concerned with errant self-expression, what happens when we are wrenched from sensation and how we adjust to the comedown.”
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“In Malick’s effort to capture the alienation that accompanies modernity, in his contemporary-set films, he ultimately achieves a similar alienation cinematically.”
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“Today, what survives is a film of exquisite poise, of fleshly tenderness against concrete cruelty, an evocative warmth against the coldness of Joan’s formidable suffering.”
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