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 […]
Tag: Drama
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, […]
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 […]
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 […]
Hannah (Pallaoro, 2017)
Andrea Pallaoro’s Hannah is all show and no tell, and that has both benefits and drawbacks. In terms of the latter, it makes it harder for us to really connect with the true predicament of Charlotte Rampling’s […]
Summer 1993 (Simón, 2017)
The impressionistic touches in Summer 1993 are wonderful to behold, and you always know they’re coming from a deep place because of how authentic they feel. The scene in which Frida dresses up and playacts the role […]
Claire’s Camera (Hong, 2017)
Ah, yet another deceptive bonbon from our favourite South Korean auteur. And an odd one, at that, since the soju-drinking is kept to a minimum, and we’re planted in France this time around—more specifically, in […]
Beast (Pearce, 2017)
I liked the idea of Beast more than the execution, which is on the over-stylised side for my taste. All the moody lighting and portentous music distracts from the visceral darkness of the story, and the way […]
Crazy Rich Asians (Chu, 2018)
I saw Crazy Rich Asians last night [August 28], and oddly very little is sticking with me apart from the wedding service soundtracked to “Can’t Help Falling in Love,” which I’ll admit was moving and sweet. The […]
Support the Girls (Bujalski, 2018)
I love that this is a love letter to working-class women like Regina Hall’s Lisa: women who carve out careers in the hospitality industry and put up with a shit load of racism and misogyny […]
The Wife (Runge, 2017)
Stories about declining marriages have been told for eons, and it’s no different in film. It seems like every week we get a new take on the “marriage in crisis” genre, and The Wife is one more […]
Raw (Ducournau, 2016)
After letting Raw sit with me for a while, I’ve come to admire it more than actually love it.
The Meyerowitz Stories (New and Selected) [Baumbach, 2017]
Even though The Meyerowitz Stories lacks the magic of Frances Ha or the emotional import of The Squid and the Whale, it still manages to justify its existence by veering off the beaten path—even if just slightly.
The Lonely Film Critic 