In the nine years since she was first accused of and jailed for murder — then exculpated, only to be retried and found guilty again, and finally absolved — Amanda Knox has learned a thing or two about performance. “Either I’m a psychopath in sheep’s clothing,” the 21st century’s most…
Pasolini’s Salò meets red Solo cups in Goat, Andrew Neel’s deep, dank dive into the depravities of frat pledging that operates as its own kind of hazing ritual. Points are made and lessons imparted with all the subtlety and finesse of a Greek paddle to the head. Based on Brad…
A decade after the fact, the scandal of JT LeRoy — the HIV-positive, young male (though gender-fluid) writer adored by scores of global alt celebrities who was revealed to be the creation of a woman named Laura Albert — is relitigated in Jeff Feuerzeig’s queasily absorbing documentary Author: The JT…
Most war movies try to shock us with hard, brutal, tangible, sick-making images, demanding that we look at the visible proof — the blood and guts and other gore — that results from guns and bombs. In the searching, cogent Neither Heaven nor Earth, director Clément Cogitore examines the horrors…
Catherine Corsini’s lovely, sultry Summertime, a 1971-set tale about two women of different ages and class backgrounds who fall in love, celebrates erotic abandon but never loses its mind. Unlike Abdellatif Kechiche’s Blue Is the Warmest Color (2013), France’s most notorious treatment of a sapphic sentimental education, Corsini’s movie, which…
Kindly allow this lengthy aside and conspiracy theorizing: I can’t start my review of Paul Feig’s redo of Ghostbusters without first mentioning the stupefying chaos that attended last Thursday evening’s press screening, the only one of two scheduled a half-hour apart in New York before the movie’s opening. This unprecedented…
Teenage bodies are bared but fresh insight concealed in writer/director Eva Husson’s first feature, a dopey examination of Instagram-abetted adolescent abandon. Inspired by a news item that Husson came across in 1999 about a group of orgy-loving high schoolers in the U.S., Bang Gang (A Modern Love Story), despite the…
Octave Mirbeau’s The Diary of a Chambermaid, a 1900 novel about the depravities in all social strata written from the point of view of a servant named Célestine, has famously been adapted twice before, by two of cinema’s immortals. Benoît Jacquot’s uneven take on the material won’t challenge the stature…
With the perfect timing of a deadpan comic and the keen observational skills of a zoologist, Athina Rachel Tsangari highlights just how bizarre the most banal of human activities can be. In Attenberg (2010), the filmmaker’s previous feature, walking itself is presented as a deranged means by which to move…
As generic and impersonal as a new credit-card offer, Jodie Foster’s Money Monster is the latest big-studio production to try to cash in on populist outrage over Wall Street abuses and New Gilded Age inequality. There’s a lot of excitable talk about algorithms (or “algos”), the overuse of the term…
In an appreciation published in The Guardian a few days after the death of J.G. Ballard, in April 2009, Martin Amis noted that the paragon of New Wave science fiction was “remorselessly visual.” Ben Wheatley’s muddled adaptation of the dystopian 1975 novel High-Rise — one of many Ballard books that…
Even when working from source material crafted by others, Terence Davies, like all singular filmmakers, imprints it with his DNA. At once solemn and lusty, Davies’ page-to-screen transfer of Scottish author Lewis Grassic Gibbon’s 1932 novel beautifully conveys human fragility, our bodies and minds outmatched by the brute indifference of…
Never one to betray the courage of his convictions, Luca Guadagnino excels at the unrepentantly grandiose and ludicrous. The title alone of his previous narrative feature, I Am Love (2009), signaled operatic sweep and loony sincerity, qualities further exalted by the film’s visual ravishments and seductive voluptuousness. The Italian director’s…
The effortless charisma of Ice Cube and Cedric the Entertainer, the headliners of the first two Barbershop movies (released in 2002 and 2004), helped keep those over-plotted comedies buoyant. Cube and Cedric are back as Calvin and Eddie in Barbershop: The Next Cut, but even their enormous appeal can’t rescue…
A she-wolf of Wall Street with a spiky ginger Suze Orman shag, Michelle Darnell, the anti-heroine of fitfully funny The Boss, is the latest of the Rabelaisian wonders played by Melissa McCarthy. The actress specializes in characters with indestructible bravado, no matter where they stand on the socioeconomic ladder; Michelle,…
The seemingly stark divide between sleep and wakefulness serves as the main motif in Apichatpong Weerasethakul’s Cemetery of Splendor, which allegorizes the history of Thailand as deepest REM slumber. Weerasethakul’s works are sensory delights, haunted, if obliquely, by Thailand’s violent political past and still fractious present. A film about the…
This patchy comedy about a cossetted, obnoxious gymnast who has slid deep into sloth in the decade or so since her Olympic triumph gets an occasional laugh from the American ills it sends up: jingoism, the sports-industrial complex, home-schooling, fast-food gluttony. The scattershot jabs pepper the flaccid storyline of the…
The title of Glenn Ficarra and John Requa’s strained dark comedy, in which the War in Afghanistan serves as the backdrop to an American woman’s self-actualizing journey, is the military phonetic-alphabet rendering of WTF. The mild Islamophobia and highly questionable casting choices in the film call to mind other texting…
The first Zoolander, Ben Stiller’s dopey, fitfully funny fashion spoof, was released less than three weeks after the September 11 attacks. Its sequel shows the extent to which another kind of nefarious plot — the cynical quest for world domination through cross-brand synergy — has proven impossible to eradicate on…
A kick for those who’ve distractedly thumbed through Kenneth Anger’s Hollywood Babylon, Joel and Ethan Coen’s bustling comedy Hail, Caesar! looks back to the waning days of moviedom’s golden age: specifically, to 1951, when big-studio fixers were still tidying up the messes left by the talent (scrubbing now done by…
“Every film is a documentary of its actors,” Jean-Luc Godard once said. Starring Tom Courtenay and Charlotte Rampling, Andrew Haigh’s shattering marital drama 45 Years expands that maxim: As we gaze at and listen to these performers, whose characters reflect on nearly a half-century together — almost as long as…
In most of his eight films and especially since The Fighter (2010), choreographer of chaos and screwball scion David O. Russell has assembled boisterous, buoyant casts. His manic ensemble players, like those in Silver Linings Playbook and American Hustle, carom off one another, their high-pitched energy keeping the movies bustling…
