THE GUILTY (Netflix – Oct. 1):  One way to cope with the challenges and costs of movie production during Covid is to limit the number of actors who have to be in front of the camera.  That’s tough for a thriller, but two Festival movies this year chose the old Sorry, Wrong Number mode […]

> In just her second feature film as a director (her first was 2006’s Oscar-nominated Away From Her), Sarah Polley demonstrates that she’s already a filmmaker with rare grace and sensuality in TAKE THIS WALTZ, which premiered tonight at the Toronto Film Festival.  Blessed with yet another superb lead performance by Michelle Williams, Polley’s film […]

  SILVER LININGS PLAYBOOK:  Don’t Get Sold Out – A Rom-Com With Dance Moves All Its Own Anyone who doubts that Jennifer Lawrence is a real-thing, big-time movie star should get thee hence to a theater showing SILVER-LININGS PLAYBOOK, opening today in limited release and gradually spreading across the through through the holiday (and awards) […]

  There is a reason, or at least an argument, for why almost everything in Paul Haggis’s THIRD PERSON feels synthetic and contrived–but I can’t make it here, because doing so would expose the film’s purported surprises.  And I’m not sure it really matters anyway, since even though, after the fact, one might be able to “justify” […]

  Sadly, the phrase “BEING CHARLIE is Rob Reiner’s best film in years” doesn’t mean nearly as much as it once would have.  After a decade where he could do no wrong, he has, incredibly enough, been in the Hollywood wilderness for twenty years now, churning out flops like The Story of Us, Alex and […]

  DESTROYER (Annapurna – Dec. 25):  Another fractured-time thriller, this one trickier than most, because the script by Phil Hay and Matt Manfredi features a sort of time-loop within a loop.  All that structural fanciness aside, Destroyer is mostly a vehicle for Nicole Kidman’s aggressively deglamorized performance as an end-of-the-line LAPD detective named Erin Bell.  […]

  CAUSEWAY (Apple – November 4):  After a decade as one of Hollywood’s biggest stars, there was reason to wonder whether the Jennifer Lawrence who first came to prominence with the Sundance movie Winter’s Bone still had a gritty indie-movie gear.  She returns to those roots with Causeway, for which she also serves as a […]

> Pawel Pawlikowski is a filmmaker whose name deserves to be better known: his films Last Resort and My Summer of Love are small but beautifully realized stories of intricate human emotion. His new picture The Woman In the Fifth, is in a somewhat different mode, edging toward genre, but it continues to display his […]