Sometimes it’s important to just step back and pay your respects to a remarkable actress.
The film’s florid screenplay affords Yorgos Lanthimos ample opportunity to assert his idiosyncratic worldview.
The latest from Yorgos Lanthimos, The Favourite, takes us to the early 18th century, when England and France are at war.
The film’s biggest liberty is to make Poirot’s ultimate decision more palatable for American sensibilities.
As intelligent, often hilarious, and occasionally insightful as it is, it aslo shows a filmmaker’s style hardening into shtick.
Yorgos Lanthimos’s films live and die by their concepts—or gimmicks, depending on your outlook.
The literalizing of Ivan Locke’s hidden self and his inability to master it ultimately exposes the film as the squarest kind of theater: drama therapy.
The film is thin on concept and limited in style, but the filmmakers have the good sense to let their characters remain playful and goofy throughout.
The Police Officer’s Wife had easily the most walkouts of any film I saw at the festival.