News, stories, photos, videos and more. Refreshingly eschewing the school of documentary activism that seeks to teach rather than simply show, the film grants its subjects room to breathe and speak for themselves. Knives Out10. An Elephant Sitting Still3. But apart from that, I just don’t get what so many of my fellow critics saw in Toy Story 4, a thoroughly unnecessary sequel with a lame antagonist and a story that sidelines too many of its major players in favor of giving Woody all the focus. As Morris has pointed out multiple times, that’s not what he does. In our look back at the best television of 2019, we’ll spare you the requisite references to “peak TV” and the 500-plus scripted series that aired or streamed this year, because nothing demonstrates that magnitude quite like lining up our mid-year findings with our year-end list. Parasite9. A Hidden Life15. Knives Out2. What emerges is a cautionary tale about the terrifying power of propaganda, as well as a clarion call for the importance of reproductive rights. But Lee is a terrific action director, and the movie’s cornball, semi-retro stylings finds a vessel of sincerity in Will Smith, both in the flesh and motion-capping a younger, digital self. With the world on fire, it’s no wonder so many major filmmakers are looking now to the stars. But I was still unprepared for the film’s clarity and force of vision, not to mention its sheer emotional impact. Transit5. Gloria Bell15. And yes, writer-director Lorene Scafaria tells this tale of vengeful strippers with energy and pizazz. With no escape, no future, and no hope, a collection of interconnected locals fixate on the rumors they’ve heard about an elephant in the nearby city of Manzhouli that peacefully sits, indifferent to the suffering of the world. Posted in r/movies by u/Shakespearean_Rumba • 15 points and 36 comments It turns out that Armin (Hans Löw), a fuckup in his professional and personal life, needed humanity’s unexplained demise to discover his own utility. Mangold stages the 24 Hours of Le Mans race with an action director’s command of suspense, but he pays plenty of attention to his characters, too. The endpoint is a reckoning with the crushing weight of everyday pain, a common goal attained here by virtue of the late director’s sheer conviction. In Hollywood2. 1. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie Spotlight. [Katie Rife], For more than two decades, the Chinese filmmaker Jia Zhangke has chronicled the shifting mores and generational values of his home province of Shanxi with a poet’s sense of irony. The Last Black Man In San Francisco6. But to Gray, the inky unknown is less escape route from earthbound concerns than a roundabout path back to them. Adam Driver and Scarlett Johansson—joined by an all-star cast of supporting players—are at their best, bringing such nuance to their characters that the audience can see both why this couple fell in love and why they have to split. Homecoming14. [Katie Rife], Jennifer Kent could have haunted a hundred different (Blum)houses in the aftermath of her spooky sleeper The Babadook, and gotten paid handsomely to do so. The four-hour runtime, gray-beige color palette, and nonstop waves of misery warded off all but the most tenacious, and those choosing to see it through to the credits weren’t rewarded with any hard-won kernel of comfort. Director Kirill Mikhanovsky understands there’s simple nobility in driving people to places they can’t otherwise get to themselves, especially when doing so is a massive inconvenience. Casting Timothée Chalamet as a Shakespearean king was a bold choice, and it mostly works as a more realistic depiction of a young and not exactly macho man with greatness thrust upon him. [Allison Shoemaker], The Farewell’s premise makes it sound like a farce: A large Chinese family gathers for a fake wedding banquet, as a way of saying goodbye to their dying matriarch without letting her know her diagnosis is terminal. The massive Marvel machine routinely turns out entertaining movies, liberally sprinkled with fun character moments. To be honest, I’m as susceptible to this stuff as anyone else, but I still think that the current market dominance of Disney product (whether it’s Marvel, Star Wars, or those awful live-action remakes) has had an overwhelmingly negative impact on Hollywood and on movie audiences. Portrait Of A Lady On Fire2. Bombshell turns the complicated women of Fox News into one-note totems of female empowerment, all while patting itself on the back for the important work it’s doing. Ford V Ferrari13. I thought Shults’s debut, Krisha, was overpraised, and I know I should be too smart for this one—which, among other crimes against good taste, offers up notions of sin, forgiveness, and class so simplistic that they would make Lars von Trier roll his eyes. As ever, Noé’s nihilistic tendencies are on full display: “Life is a collective impossibility,” reads one of the film’s hilariously juvenile pronouncements on birth, life, and death. Her Smell6. Chained For Life15. Sunset11. It is so damn funny, so damn charming, so damn heartbreaking, so damn encouraging, and of course so damn awesome. 1. The Irishman2. Belmonte11. Club has gone back chronologically through the last few months, beginning in January, and singled out our favorites, noting how and where they can be watched. I’ll be the first to admit that Wesley Snipes is hilarious playing against type as reluctant actor and director D’Urville Martin, but little else about Craig Brewer’s star-studded Netflick lives up to its potential. That’s a difficult thing to accept—difficult because it will be a staggering loss for film culture, but also pretty hard to even believe. Like a flat piece of paper folded upon itself and cut along the seams, the film unfurls to reveal a beautiful design; the uniformly excellent performances are the candle that sits behind it, sending lovely shadows dancing on the wall. Not nothing, but not a lot either. Under The Silver Lake5. In both cases, though, the conviction is missing, and crazed ambition leads only to hollow tedium. Peele, working with the talented cinematographer Mike Gioulakis (who also shot another movie on this list, as well as M. Night Shyamalan’s Glass), has only grown as a visual artist, summoning a richly shadowed world that follows his characters around, even in broad daylight, in a kind of permanent haunting. Scorsese, at a very spry 77, was everywhere in 2019: igniting a debate about what is or isn’t cinema; inspiring autumn hits so indebted to his style that he should have received royalties; executive-producing two of the other movies on this very list and piecing together a lost Bob Dylan concert. Us10. Ash Is Purest White15. In Hollywood to really appreciate it. [Allison Shoemaker]. But Marriage Story is really Baumbach’s show, as he takes what he’s learned from Brian De Palma and The New Yorker short stories, breaking the arc of a messy divorce down to a series of riveting set pieces. During a six-month lockout, agent Ray Burke (André Holland) plans to revolutionize how basketball is played. The 100 best TV shows of the 2010s. [Beatrice Loayza], Like the dashing, troubled Anthony (Tom Burke), The Souvenir is always hiding something. Who knows how our decade rundown will age from here, but one thing does seem certain already: It will look woefully light on the great movies of 2019. The Farewell11. But the rhythmic, sensuous pleasures that I’ve come to associate with the French director’s prodigious body of work are all but absent from High Life. Movies The 10 Best Movies of 2019 Plus the best of the decade. A Beautiful Day In The Neighborhood7. As a result, its most potent moments are visual. The Nightingale13. After a famous mystery novelist dies of an apparent (but very suspicious) suicide on his 85th birthday, an anachronistic “gentleman sleuth” (Daniel Craig) arrives to investigate the family of the deceased—a rogues’ gallery of useless modern-day aristocrats that includes a trust-fund playboy, an “alt-right” shitposter, and a New Age lifestyle guru. Dragged Across Concrete14. 1. (Wang was born under it and interviews many of her family members.) BEST MOVIES of 2018. But that would be overlooking writer-director Alex Ross Perry’s structural savviness, which extends beyond dividing the film into five discrete segments spanning roughly a decade, each one of which plays out virtually in real time. On the flip side, I’m always downright eager to avoid English-language remakes of foreign films, even (or maybe especially) when the original director helms the new one as well. López infuses magical realism into her take on the devastating costs of the Mexican Drug War, using the omnipresent image of the tiger—a Mexican folk icon imagined here as animated graffiti and a living stuffed animal—to demonstrate the youth of the children most affected by the ceaseless violence. Maybe it’s that the allusions the filmmaker loves so much play to the broader side, or that his longstanding attachment to analog technology curdles into fogeyish admonishments for the young people to get off their damn smartphones. It has fucking Ad Astra on here, which is one of the worst films of the decade. Even at 100 selections, the list couldn’t hope to capture the full scope of 10 years of cinema—as plenty were eager to inform us, we excluded tons of notable movies, dammit. The results are frustrating to say the least: an overlong mixture of Chinatown and The Power Broker that bogs down what could have a fun detective yarn with Trumpian allusions and genre dress-up. In the crowd-pleading Hustlers, she’s the center of an ensemble whose camaraderie is so genuine, you can’t help but get an empowering contact high. The Mountain9. His latest centers on a gangster’s girlfriend (Zhao Tao) who takes the fall for her man (Liao Fan); emerging from prison five years later, she goes searching for him in central China, where he and his old underworld partners have established themselves as semi-legitimate businessmen. Club will have reviewed over 350 movies released this year. Uncut Gems6. [A.A. Dowd]. But on top of that, it’s also a deeply moving depiction of allyship. Whether through a reluctance to call something a masterpiece too quickly or because they just hadn’t yet seen all the pertinent triumphs, our contributors went light on films from the past few months. Calling the movie “welcome” is a bit of a stretch, but given that Anna was unceremoniously (and understandably) dumped into the theaters, it was definitely a surprise to find that it stands up to Besson’s best. [Vikram Murthi], When life seems difficult or incomprehensible, it can be comforting to believe that everYthing is secretly cOntrolled by some sinister cabal, and energizing to find “clUes” hidden everywhere in plAin sight. Available for purchase on Amazon Prime, Google Play, YouTube, and Vudu. Roberto Minervini’s documentaries are immersive experiences, and with What You Gonna Do When The World’s On Fire? One of the many ironies of the movie is that it uses distinctly modern means—from de-aging technology to streaming-platform resources—to eulogize a time-honored genre and the careers of the artists who shaped it. The Last Black Man In San Francisco’s multifaceted questions about belonging are answered by a staggeringly tragic conclusion that argues, bleakly but believably, that no amount of culture can rival capital. Little Women12. If this is a dad movie, then I guess I’m a dad. On paper, “a loose, shaggy small-town zombie story from Jim Jarmusch” sounds like a slam dunk. Gurinder Chadha’s Bend It Like Beckham remains a girl-power cult classic for its insightful depiction of intersectional feminism and the myriad directions in which first-generation immigrants are pulled. Yet the greatest act of defiance comes from writer-director Céline Sciamma, who subtly shifts the lens on how historical stories are told, starting with the fact that every single character in her film is a woman. Perhaps the stumbles of Legion should have prepared us for the mess that is Noah Hawley’s Lucy In The Sky, a self-important, hollow piece of nonsense not even Natalie Portman’s best efforts could save. Give Me Liberty8. No other 2019 movie spoke so clearly to the mess we find ourselvEs in. Hail Satan? A Hidden Life5. 555. No paranormal activity could be so haunting. Norton does solid work as a gumshoe with Tourette’s, but can’t help falling into Rain Man-like schtick. Under The Silver Lake12. Playing a version of himself, Fails wanders the Black neighborhood of Bayview-Hunters Point with best friend Mont (a fantastic Jonathan Majors), observing all the changes to their community. How big of Us. Packed with memorable supporting characters (and impressive turns from newcomers like Julia Fox, Keith Williams Richards, and NBA star Kevin Garnett, who plays himself), Uncut Gems establishes the Safdies as masters of anxious existential grit; their style of overlapping dialogue and tension feels like the unlikely fusion of Robert Altman and Abel Ferrara. Like the French director’s previous films, this LSD-fueled dance movie overwhelms the viewer with sheer bodily sensation, and in this case features two of the most impressive set pieces of his career: an opening number set to Cerrone’s “Supernature,” captured in a single unbroken take; and a hypnotic, Busby Berkeley–style overhead view of a dance circle that’s impossible not to imagine in 3D. Captain Marvel is no exception, but given that this is the first MCU film with a woman as the primary protagonist—and given what a fascinating character Carol Danvers has always been—it’s a drag that it presents her as someone fairly bland and square, with few of the quirks and vulnerabilities that make the comic-book version such a great Marvel hero. Marriage Story11. Granted, hardly anyone was able to see Gemini Man as director Ang Lee intended, in the full glory of discomfitingly vivid 120fps projection—and even the sickest tech demo doesn’t bypass the clunky dialogue or sci-fi clichés. Uncut Gems4. While the film lasts, nothing else seems to matter. During this trying year, it was difficult to distinguish between our favorite shows and the best shows. You won’t find complete agreement among our voters, particularly when it comes to the question of the most overrated film of 2019. This attempt to spin Jason Statham and Dwayne Johnson out into their own Fast & Furious-based franchise has its pleasures: Statham’s scowl, Vanessa Kirby’s ass-kicking, and a couple of neat set-piece tricks from director David Leitch. The two pieces complement each other, frequently pushing I Lost My Body toward the poetic and metaphorical. Toy Story 413. Having worked together on TV (Maron, Glow) and a stand-up special, director Lynn Shelton and comedian Marc Maron reunited for this low-delight about the perils of fake news, the latter in peak form, delivering sarcasm and heartbreak with ease. “Daddy didn’t love me” has always been one of the laziest dramatic engines, and it’s particularly risible to see an entire science-fiction epic constructed around it, building to a laughable climax in which letting go of someone emotionally gets represented by letting go of him physically. The Irishman14. But the film interrogates her knee-jerk distrust for the happiness of others as chemical delusion, before guiding her to a more difficult and mature realization. Likewise, the filmmaking never loses its controlled sense of showmanship, as rhythmic and catchy as Park So-dam reciting her mantra-like cover story: “Jessica, only child, Illinois, Chicago.” [Jesse Hassenger]. This to me will be in my top 10 films of the year no matter what genre. But between the its calculated script, its familiar themes, and Bong’s clockwork direction, Parasite doesn’t have much room for anything but its own virtuosity; plot twists abound, but there’s no real sense of surprise. The Farewell7. I’d expect something this fiendishly clever from the thriving indie horror community, but Fox Searchlight funding a nasty horror-thriller that blends Clue with You’re Next? But “impressive” isn’t the same thing as “involving”—and in fact, the lengths 1917 goes to present itself as a single, unbroken shot often undermine its drama, drawing much attention to the virtuosic filmmaking at the expense of immersing us in the plight of its beleaguered grunts. Our top-15 lists for best films of 2019 had a fair amount of overlap this year, and so my outlier choice is my #16 pick, Issa López’s Tigers Are Not Afraid. This year, like any other, The A.V. Initially declared a failure after its disastrous premiere at Cannes in 2018, Under The Silver Lake has since gained a cult of critical followers substantial enough to propel it to #10 on The A.V. Parasite5. The movie plays out like one long montage of feel-good underdog heroics, relying too heavily on the inherent outrageousness of the true story without adding any real punch of its own. Below, you can see how each of our 13 writers voted, along with their choices in a handful of superlative categories, including stump speeches for the “outlier” that appeared on one writer’s ballot and no one else’s. Once Upon A Time… In Hollywood5. Pop culture obsessives writing for the pop culture obsessed. Joanna Hogg’s semi-autobiographical drama manages to be many things at once—a portrait of addiction from the outside, a making-of-the-artist story, a tale of obsessive love and the ways it can make even the most sensible among us fools—without ever feeling overstuffed, thanks in part to Helle le Fevre’s elliptical, elusive editing. By the time Phillips was coyly telling journalists that maybe Joker wasn’t about the Joker, the movie’s hollowness was clear. Midsommar14. And yet to watch The Irishman, his gangster opus to end all gangster opuses, is to be constantly reminded of the promise of mortality—his, ours, everyone’s. A scientist (Emily Beecham) breeds a flower that makes those sniffing it feel a deep contentedness, and then suspects it of brainwashing everyone around her. What lingers with this one is envy that I didn’t have the experience so many others had. From the distinction “the first and final film from Hu Bo” on down, a bone-deep sadness permeates every aspect of this unsparing look at quotidian life in desolate, post-industrial China. The 25 best films of 2019. When Armin meets another survivor (Elena Radonicich), they cautiously enter into a relationship, but eventually come up against numerous red flags, all of which would have become apparent even if they had met under less extreme circumstances. While many filmmakers attempt to emulate Martin Scorsese, Lorene Scafaria is one of the few to really nail the balance between moral ambiguity and charisma that makes his mobsters so compelling. Once Upon A Time… In Hollywood6. The perception of this particular year is that it was one characterized by good, not great programming—to which the TV critics of The A.V. Johnson, who made his name with geeky delights like Brick and Looper before hitting it big with Star Wars: The Last Jedi, finds ingenious solutions to the rules of the murder-mystery movie formula. Yet Honey Boy feels far from a manufactured apology tour. In Hollywood10. All the same, it finds fresh wonders up there, from lunar pirates to fast-food franchises gone intergalactic. The film’s narrative progression and structural elisions are oddly conventional for Denis, and by the end of its lugubrious, logy middle section, I found myself alienated by its monomaniacal sense of portent. Though it caught fair comparisons to everything from Apocalypse Now to Lord Of The Flies to Dogtooth, this intense action-drama casts its own hallucinatory spell. Filled with warm, occasionally absurdist humor, Asako goes down easy as a high-concept romance, one equally interested in what we (fail to) value in our loved ones and our often fractured relationships with ourselves. Uncut Gems14. For months before Joker’s release, Todd Phillips and Joaquin Phoenix courted controversy at every stop of the press tour. The sexual assault allegations against eccentric French action auteur Luc Besson make it difficult right now to recommend his movies, even to longtime devotees. In short, those Wall Streeters had it coming. Under The Silver Lake8. Yet, it exists. This year, Joe Talbot and Jimmie Fails combined those approaches in the raw, lyrical The Last Black Man In San Francisco. (Specifically, it came out of the Fantasia Film Festival, where it premiered after I’d left for the year.) But for those who can stomach grotesque body-horror and cockroach-infested sets, this adaptation of a Nathan Ballingrud novella is actually one of the year’s deepest and most original genre pictures. The film’s ghost story owes a recognizably debt to Guillermo del Toro, but Tigers Are Not Afraid stands on its own as a portrait of devastation and survival. Even grading on a TV-movie curve doesn’t account for the shoddiness of this production, from filmmaking that has no idea how to convey the passage of time to actors who appear under-directed at every turn to jokes that often sound as if they were added to the margins of scenes during post. Once Upon A Time… In Hollywood3. Club’s best-of-the-year list. The Irishman9. Could any actor hope to disappear into the role of Mister Rogers, to compete with our memories of this beloved TV personality? Their provocation was in service of a film that takes zero risks whatsoever; that is gleeful in its celebration of a song by a convicted sex offender; that equates mental illness with murder; and that cannot, from scene to scene, say anything poignant or meaningful about the state of modern American society, social isolation, or economic disenfranchisement. Asako I & II11. That’s the centRal idea of David RobErt Mitchell’s wonderfully Weird pseudo-noir, Under The Silver LAke, in which a bliSsfully unemployed, perpeTually lascivious, morally dubIous L.A. goofball (ANdrew Garfield, hilariously self-deprecatinG) starts inVestigating the mysterious disappearance of A new neighbor (RiLey Keough) and finds himself sUcked deeper and deeper into what Appears to be an elaBorate citywide cipher. [A.A. Dowd]. The film’s bleak, powerful ending confirms where Morris’ sympathies lie. Writer N.K. Menu. Structured like a zero-gravity Apocalypse Now but gooey as Xenomorph guts, Ad Astra says it’s the mysteries of inner space rather than the outer kind that really matter. Other than that, though, it’d be basically the same endearingly old-fashioned sports drama. High Life9. (The Greek gods were horny, too.) Available for rent and purchase on Amazon Prime. A major studio green-lighting a film that rivals Knives Out in its pointed contempt for the 1%, but with a significantly higher body count? The original story is more cynical and matter-of-fact about a system stacked against a handful of women who think they’ve finally found an angle of attack. Despite star Emily Beecham’s unexpected Best Actress win at Cannes back in May, the latest from Austrian master Jessica Hausner got largely lost in the shuffle at the Croisette and again when it came to theaters in December. Though I guess I shouldn’t have been that surprised to like it, given the nuance and intelligence of Marielle Heller’s previous ripped-from-reality portrait of a cranky writer, Can You Ever Forgive Me? Sunset8. Some folks mistook the protagonist’s paranoid, borderLine misogynistic viewpoint for the film’s, but Mitchell is unmistakably ridiculing thE prevalence of outlandish conspiracy Theories, even as he acknowledges their vIsceral appeal (and throws in nuMerous coded puzzles for fans to solve). If Ford V. Ferrari had been made in 1969 instead of 2019, Steve McQueen would obviously star as Ken Miles, given that the actor was an amateur racecar driver himself. Portrait Of A Lady On Fire6. Portrait Of A Lady On Fire6. I’m sort of the cheese that stands alone on this one, I know, but wow, I just didn’t connect with Once Upon A Time… In Hollywood. Movies. Shia Labeouf, as actor and writer, bares his soul in unexpectedly compelling ways, reckoning with the ugly parts of himself while confronting, with remarkable lucidity, the traumas that have come to define him. The same can’t be said for the sequel, which struggles with the pacing and structure of Stephen King’s novel in a way its predecessor didn’t. Asako I & II2. The Last Black Man In San Francisco8. The Farewell6. As for the action, its sword and shield brawls both resemble and disappointingly pale in comparison to those in Outlaw King, Netflix’s not-so-hot medieval entry from last year. Asako I &II4. The Irishman4. But Part 1, consisting of the first two episodes, would have been my #2 for the year. Long Day’s Journey Into Night. One Child Nation12. Club collected ballots from our regular stable of reviewers and then aggregated them, weighing both the number of contributors who shortlisted a film and where each of them placed it on their own ranked rundown. Club counted down its favorite movies of the 2010s. 1. In that way and others, this drama about the relationship between Rogers and an emotionally constipated journalist squirmed around my skepticism and past my defenses, slightly hoary dramatic angle notwithstanding. The Irishman6. Wounds starts out as a marvelously written and acted look at life in one seedy dive bar, before becoming an impressively disgusting journey into Lovecraftian madness. The Souvenir12. And yeah, we made a little room for Hollywood, too. Transit6. Chris Morris’ follow-up to Four Lions was almost completely ignored in the States, possibly because a satire about a delusional cult leader who appropriates black revolutionary rhetoric might not be kosher in 2019. Perry also expertly calibrates just how much of Becky’s sometimes poignant, oft-disturbing volatility we can take, repeatedly moving her out of the room or into a soundproof area and letting supporting characters (Agyness Deyn and Gayle Rankin as Becky’s bandmates, Eric Stoltz as her manager, Dan Stevens as her ex) provide contextualizing counterpoint. High Life2. [Roxana Hadadi], A young woman is abandoned by her lover, only to fall for a man who looks just like him some years later, triggering a series of emotional dilemmas pestered by the memory of her first romance. His vision is of organized labor, worker solidarity, and profound upheaval, and Moonlight playwright Tarell Alvin McCraney deftly moves Ray from penthouse offices to community courts as he criticizes each component of this multibillion-dollar system. His clinging to the story and Mont’s struggle to understand his role as a playwright both serve as responses to San Francisco’s transformation into a nouveau riche enclave ignorant of its own history. Ad Astra. “They invented a game on top of a game,” says Bill Duke’s Coach Spencer of the capitalist structure of professional sports. This slickly glib, frustratingly simplistic look at sexual harassment at Fox News is pretty much everything I feared we’d get from the all-but-inevitable wave of movies about the #MeToo movement. Marriage Story14. Transit3. 1. Light Of My Life5. And the driving scenes would be filmed from afar instead of in thrilling close-up, perhaps even incorporating footage from actual car races, as in McQueen’s 1971 flop Le Mans. Climax7. Photo illustration by Slate. [Ignatiy Vishnevetsky], In Noah Baumbach’s most complete picture to date, the stalwart indie filmmaker combines the vivid slice-of-life vignettes of Frances Ha with the unflinching self-examination of The Squid And The Whale. There’s no denying that Bong Joon Ho knows exactly what he’s doing in Parasite, packaging class commentary and capitalist critique within a shape-shifting genre film. The big-screen version is plenty entertaining; but it’s also too much of an uncomplicated celebration of empowerment. Explaining why, however, would involve spoiling some of the film’s crucial twists. 1. On his album of the same name, Dutch R&B artist Benny Sings reclaims the concept from YouTube compilations and vaporwave samplists, crafting a stretch of lithe, funky pop cuts held together by his translucent voice and categorically masterful musicianship. Great Margot Robbie performance though. Soderbergh cosplaying as Adam McKay is the absolute wrong choice for an explanation of the Panama Papers; the film is too disjointed, with characters breaking the fourth wall and opulence masquerading as satire, to connect with viewers. Make no mistake, this is a remarkably brisk three and a half hours, dramatizing half a century of organized crime through dark-comic confrontations (and an outsized Al Pacino performance) so deliriously funny, they’ve already generated a whole library of memes. Underneath the sprightly filmmaking and delightful performances, the movie touches upon the mixed messages that can define or derail a teenage girl’s romantic experiences. Terrence Malick’s look at the life of WWII conscientious objector Franz Jägerstätter was high on my list of most anticipated films, despite the fact that I hadn’t loved any of his features since The Tree Of Life. There are sequences almost too brutal to watch, but this harrowing plunge into a dark historical chapter never slips into grindhouse gratuitousness. But despite its promising cast, which includes the likes of Ben Mendelsohn, Sean Harris, and Robert Pattinson (as a caricatured Frenchman no less! Or maybe it’s the MAGA hat thing. In High Flying Bird, Soderbergh applies that same interest to the high-powered world of the NBA, where everyone is grasping for power and paper.
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