Jacqueline Kennedy (Natalie Portman) rides in the back of a ambulance following the assassination of her husband, John F. Kennedy (Brody and Aiden Weinberg). She lists names to her companions and asks if… Continue reading
Everything, even the title, gets unpacked. There is nothing left to the imagination.
A relief from the potholes of life as we envision the best versions of ourselves in snappy musical numbers.
Filmmaking skews male so you have to poke it back.
In war – Rogue One is desperate to underline the ‘war’ in ‘Star Wars’ – hope is the ideal motivational poster but it can’t be instilled without sacrifice.
A blast with barbs for gender politics snuck in-between big laughs.
Unashamedly goofy and sincere with its absurdity.
A submissive digital splat.
Exquisitely encapsulates the struggle between adolescence and maturity with wide-eyed apprehension.
It’s like being killed with kindness, a good problem to have but a hard one to define beyond pleasantries.
A crime tale that leaves the screwball comedy bruised and bloody with a retro reinvention of sorts.
An extreme reminder of our status as savages in suits.
Goes through an identity crisis while suffering the hubris of assuming superhero movies are too big to fail.
Quicker than you can say ‘Jesus, Mary and Joseph’ you’re in the thick of an old parenting allegory.