the current cinema
Nia DaCosta’s “Hedda” Shoots Straight
[ad_1] Wresting “Hedda Gabler” from its theatrical confines, DaCosta effects a major structural transformation with graceful ingenuity: the party, which constitutes the entire field of action, is her invention. In...
Art and Life in Richard Linklater’s “Blue Moon” and “Nouvelle Vague”
[ad_1] Leave it to Richard Linklater to see how, in art, the fundamental things apply. In his two new movies—“Blue Moon,” about the lyricist Lorenz Hart, and “Nouvelle Vague,” about...
“After the Hunt” Is a Pleasurably Ludicrous House of Cards
[ad_1] In Luca Guadagnino’s film, Julia Roberts plays a Yale professor forced to choose sides when a student accuses a colleague of sexual assault. [ad_2] Source link
“One Battle After Another” Is a Powerhouse of Tenderness and Fury
[ad_1] At a crucial moment in “One Battle After Another,” Paul Thomas Anderson’s electrifying new action thriller, someone cries out, “Who are you?!” A fair question. The man being asked...
“A Big Bold Beautiful Journey” Is None of Those Things
[ad_1] If movies were given scores as figure skaters are, fantasy would start with a high rating for technical difficulty. The landings of the genre are hard to stick, because...
“Eden” Is a Messy Survival Thriller with Nietzschean Appeal
[ad_1] The new movie “Eden” features bursts of foul temper, wild sex, grisly violence, and nihilist ideology—a departure, you might say, for Ron Howard, a director whose cinematic disposition can...
“Splitsville” Plays Infidelity for Laughs; “A Little Prayer” Shows What’s Really at Stake
[ad_1] In the studiedly rambunctious comedy “Splitsville,” Michael Angelo Covino and Kyle Marvin play a pair of homewreckers. The home, a beachside vacation pad with natural-wood siding and floor-to-ceiling windows,...
“Highest 2 Lowest” Marks a Conservative Pivot for Spike Lee
[ad_1] It’s fascinating when filmmakers make drastic late-career shifts, as Martin Scorsese did with “The Wolf of Wall Street” and Francis Ford Coppola recently did with “Megalopolis.” Now it’s Spike...
“Weapons,” “Harvest,” and the Shackles of the Horror Genre
[ad_1] Horror is an accursed genre. Because it promises to deliver a specific sensational effect, its stories are obliged to fit into preordained patterns. Its popularity depends on predictability, and...
“Eddington” Is a Lethally Self-Satisfied COVID Satire
[ad_1] “Eddington” is a slog, but a slog with ambitions—and its director and screenwriter, Ari Aster, is savvy enough to cultivate an air of mystery about what those ambitions are....
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