The film, although it positions itself in dialogue with contemporary debates about the border, eschews a clearly delineated historical narrative.
It’s sense of complexity is giving us masses of people moved by Simon Bolívar’s words, and gorgeous sweeping vistas of the landscape backed by a stirring orchestra.
The second season of Joe Weisberg’s Reagan-era spy drama resets the pieces of its chess game to a precarious status quo.
In the end, the film’s misstep isn’t some failure at being sufficiently morally gray. In being the thriller that it is, it smudges the palette beyond recognition.
The foreclosure of possibilities provided by the use of the long take assists in the indictment of chauvinism and patriarchal brutality that underpin many moments in the film.
The Selfish Giant provides a window into the struggles and tragedies, both great and small, which lie just outside our view.
We Are Mari Pepa captures the energy of aimless adolescence with a loose and ambling story structure.
Lake Bell holds the film together through sheer charisma.
It hasn’t been retooled exactly, but there’s a finessing of characters and a shifting of priorities, with most of the changes being for the better.
The real world, or at least the attempt to transmit some finite aspect of it, has been the aim of many a film.
“We never love someone. We just love the idea we have of someone.”
Chaw isn’t reluctant to bring up problematic aspects of the film, and Steve De Jarnatt responds frankly, with nostalgia tinged by regret.
On the Edge’s Badia isn’t a personable or empathetic character, but as the driving force of the story, her behavior is a fascinating display.