Haley Bennett
Too self-conscious to woo Roxanne himself, wordsmith Cyrano de Bergerac helps young Christian nab her heart through love letters.
In context to its insufferably self-congratulatory source, Hillbilly Elegy might be the least-bad adaptation one could hope for, for whatever that’s worth.
The Devil All the Time is disturbing and unrelenting in its catharsis and its portrayal of the cycles of violence.
The Devil All The Time balances each story, giving it is time to flourish and each character’s contribution to the others to be fully realized.
Carried by a brilliant performance from Bennett, Swallow is a disturbingly effective psychological study focused on the extreme lengths one will go to declare independence in the face of oppression.
In Swallow, a newly pregnant housewife finds herself increasingly compelled to consume dangerous objects. As her husband and his family tighten their control over her life, she must confront the dark secret behind her new obsession.
The Red Sea Diving Resort tells the true story of Mossad agents attempting to rescue Ethiopian Jewish refugees in Sudan in 1977.
Music and Lyrics might not venture too far into uncharted waters, but with some solid voices, and plenty of hummable beats, it’s a crowd-pleaser that takes it a step further with its heart.
Bleak thrillers that satirize the modern nuclear family seem to be increasing in popularity in recent years. The most prominent example would obviously be Gone Girl, based on Gillian Flynn’s novel of the same name and directed by David Fincher. The latest film that could classify within this subgenre is The Girl on the Train, which contains many similar elements to Gone Girl, including a mysterious disappearance of a woman, which the film’s events revolve around.
Hollywood seems to be stuck in an age of remakes and sequels. Though original films do exist, they are never as popular or successful as the large-scale blockbusters, which are the only sure moneymakers for studios. Coming from this standpoint, it’s no surprise that Antoine Fuqua’s The Magnificent Seven exists.
Action cinema is a pain to bring to light. Let’s be clear that every film is difficult to make and they all have inherent problems, ranging from little to gigantic nuances. But action takes the cake when it comes to painstakingly long hours and the mundane repetition that is required to capture the choreography of a scene just right.