"What was initially a nuanced foray into queer kinship and mental health thus turns into another film about a mediocre artist and his ‘insightful’ depths—as if cinema needed any more of these."
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"...the film’s lack of deep and meaningful character exploration renders [Ben Fosters] performance ineffective."
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“[Alex Garland is] reaching to make a statement about the importance of journalistic neutrality, but his cowardice neuters his own mission statement before even making it on screen.”
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“It’s not that this is uninteresting - Tom Hiddleston and Owen Wilson’s effortless banter never gets old - but, at times, it feels like the show is repeating story beats to avoid committing to the consequences promised.”
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“It is in this latter part of the film with a true villain materialized that Finestkind establishes a gritty tone worth perking up for.”
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“Birth/Rebirth relies heavily on a moody and atmospheric tone - perhaps too heavily…”
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“…the undeniable truth with The Woman King is that it contains some of the best acting performances of the year. Viola Davis is an absolute showstopper.”
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“Audiences drawn to Causeway for either [Jennifer Lawrence or Brian Tyree Henry] will not be disappointed with what they offer the film.”
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Tsangari, a filmmaker, longtime producer for Yorgos Lanthimos, and pioneer of the Greek Weird Wave, is a 21st century master of deadpan humor.
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“The B-side to Men takes its greatest qualities - its uneasiness, its Biblical metaphor, the brilliant performances of Buckley and Kinnear - and brings them to the edge of incomprehensibility.”
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