Chances are, four out of five people reading this review will never have heard of this film. “Wait, there’s another movie about Wonder Woman?!” they will exclaim. And to that I say: yes… and no. Technically […]
Tag: Romance
Book Club (Holderman, 2018)
Geared toward the twilight set, Book Club delivers a fair amount of laughs courtesy of its cast of American treasures. It’s a bit like The Best Exotic Marigold Hotel, in the sense that its concerns are about the […]
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 […]
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 […]
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 […]
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 Room (Wiseau, 2003)
Everything about this is inept and misjudged.
Your Name (Shinkai, 2016)
Your Name is really fun to watch, and takes more risks than I would have expected it to. I may not be blown away, but I am still very impressed.
Julieta (Almodóvar, 2016)
I really do admire the care and attention Almodóvar put into this, as well as the fantastic acting from the two leads (especially Suárez, whose face is nigh-unforgettable).
The Big Sick (Showalter, 2017)
The Big Sick will not win any awards for its direction or style. And I’ll admit that that bothered me for the first half hour or so. It’s not an interesting film to look at, and Michael Showalter doesn’t seem to try giving it a boost in that area.
Paterson (Jarmusch, 2016)
Paterson cycles through a week in the life of its titular protagonist, a bus driver in Paterson, New Jersey (and yes, his real name is actually Paterson) who writes poetry inspired by his fellow-Patersonite idol William Carlos Williams in his spare time.
Tanna (Dean & Butler, 2015)
Tanna has an elemental beauty that is difficult to resist, and the lives and rituals of the Vanuatuan tribes are captured with a superb degree of fidelity and sensitivity.
Beauty and the Beast (Condon, 2017)
Remaking what is arguably one of the best animated films ever made is inevitably going to result in backlash, because why have an inferior facsimile when you can cherish the real thing?
Their Finest (Scherfig, 2016)
Another film about the process of filmmaking, Their Finest takes us to bomb-riddled London in 1940, where a young secretary is hired by the government to help script morale-boosting propaganda films.
5 Centimeters per Second (Shinkai, 2007)
I agree with everyone who says this is a gorgeously animated film. The movement of the train, the blowing snow, the gloriously detailed sky—exquisite work.
The Lonely Film Critic 