Anyone who is a fan of acting legends should give Nothing Like a Dame (or, as it is now known in North America, Tea with the Dames) a spin. Ideally during a sunny afternoon, with a spot of […]
Tag: 2010s
Ocean’s Eight (Ross, 2018)
This insanely talented cast deserved much better than this kind of straight-down-the-middle filmmaking that gives them only the bare minimum to shine. The pedestrian nature of this endeavour was a big shame. I, quite shamefully, […]
You Were Never Really Here (Ramsay, 2017)
The quality of this film that I admired from the start was the heightened soundscape, which I assume is meant to mirror the sensitivity of Joaquin Phoenix’s Joe. Conversations and footsteps here have a sharpness […]
Hereditary (Aster, 2018)
Kudos to Ari Aster for making a film that is so unbridled in its insanity that it has the durability of Teflon. There are several images in Hereditary that will be hard to forget anytime soon. From […]
Let the Sunshine In (Denis, 2017)
It’s only words, and words are all I have to take your heart away.—The Bee Gees Claire Denis continues to be nothing less than fascinating with her first film in four years, a far cry from […]
Where is Kyra? (Dosunmu, 2017)
Another mark in the “win” column, Bradford Young. You really are one of the best DPs in the business right now. You understand the stories you’re hired to tell with your visual acumen. You have […]
Let the Corpses Tan (Cattet & Forzani, 2017)
Let the Corpses Tan, the latest from Belgian team Cattet & Forzani, is a deliriously degenerate mash-up of spaghetti western, giallo and poliziotteschi that does more than arrest the eye: it positively holds it captive. […]
Love, Simon (Berlanti, 2018)
Love, Simon reminded me a little of last year’s Wonder, which was (if you remember) about the child with the facial disfigurement. Both are very safe and “clean” uplifters about self-acceptance and tolerance that are fundamentally structured […]
Life and Nothing More (Esparza, 2017)
I’m excited for more people to see Life and Nothing More when it eventually makes the rounds, because I want to see sentences like “Regina Williams is a star in the making,” “Regina Williams gives one of […]
Tully (Reitman, 2018)
I liked the “motherhood as body horror” approach that Tully takes for its first half, and bless Charlize Theron for her commitment in making Marlo look thoroughly wiped by the experience of having a third baby. Gaining […]
Eighth Grade (Burnham, 2018)
When I was in grade school, social media was really nothing more than chats on MSN Messenger and cell phones that didn’t have the functionality we know of today. There was Facebook, too, I guess, […]
Mamma Mia! Here We Go Again (Parker, 2018)
The first Mamma Mia! is a jukebox musical in which the plot was clearly written around the songs. ABBA’s songs of infidelity, flirtatious discovery, and radiant living are perfect for a tale of a woman with three […]
A Quiet Place (Krasinski, 2018)
A Quiet Place is among the best experiences I had watching a film this year, as it utilized its technical facets with a great amount of intelligence. From the sound design to the cinematography, John Krasinski ensures you […]
The Endless (Moorhead & Benson, 2017)
My somewhat low rating here does not mean that I don’t respect Benson and Moorhead’s ambition. Creating a legible sci-fi tale involving temporal loops and sinister, omniscient forces is not an easy feat, and they […]
Double Lover (Ozon, 2017)
Sorry to rain on any parades, but I’m of the opinion that Double Lover’s trashiness is not of the commendable type. Firstly because the starring role becomes a cipher for a lot of misogynistic impulses, to […]
The Lonely Film Critic 