‘The Invisible Woman’ honors neither image or spirit of Charles Dickens as it tries in vain to prove itself anything more than, or even matching, ordinary.
Tag Archives | New York Film Festival
‘The Secret Life of Walter Mitty’ is an everyman’s adventure story, but without the drive or emotion to get us to care.
This month might have the most exciting new releases all year with anticipated titles like 12 Years a Slave and Blue is the Warmest Color hitting theatres.
‘Inside Llewyn Davis’ sees the Coen brothers in more soulful humanist territory, singing longingly in song & cool visual palette.
‘The Wind Rises’ is a lovely conclusion for Hayao Miyazaki, as wistfully filled with worldly wonder as it is with wartime questions of morality.
At 4 hours long, At Berkeley is an extensive depiction of college, but a universally resonant and intricately constructed one.
Festival fare such as ‘Inside Llewyn Davis’, ‘The Immigrant’ and ‘The Wind Rises’ round out this year’s stunning New York Film Festival main slate.
The 2013 New York Film Festival keeps pumping out its line-up, with ‘The Secret Life of Walter Mitty’ announced to premiere as Centerpiece.
Paul Greengrass high-seas hostage thriller ‘Captain Phillips’ has been announced as the Opening Night film at the 51st New York Film Festival!
Robert Zemeckis’ ‘Flight’ launches as we close down our coverage of the 50th New York Film Festival.
The output from New York Film Festival continues as Steven Spielberg’s ‘Lincoln’ surprises audiences at this year’s secret screening.
‘Amour’ realizes a heartfelt Michael Haneke, reserving his anti-accessible motivations in favor of honest human tragedy led by two towering leads.
‘Not Fade Away’ strikes an off chord to an overplayed tune, not contributing enough ideas of its own to merit a lasting impression.
‘Something in the Air’ is a lover’s depiction of the 70’s, ever-wishing it that time had lingered on a little longer.
‘Like Someone in Love’ falls willingly into banal repetition, not forming creative enough relationships to maintain interest in its tedium.
‘The Paperboy’ is dripping in gross behavior and gleefully so performances, topped as always by the fearlessly breathtaking Nicole Kidman.
Not cheerful by half, ‘Our Children’ conveys brutal intensity through torturous intimacy and Emilie Dequenne’s devastatingly hollowed out expression.
‘Fill the Void’ is an unprejudiced depiction of Jewish marriage troubles, highlighted by a beguiling lead turn by Hadas Yaron.
In placing African sufferings front and center, ‘Kinshasa Kids’ manipulatively ignores honest misery in favor of crass music and unexplained plotting.
Ang Lee gorgeously emulates God’s design in ‘Life of Pi’, but is hindered by over-explanatory dialogue, indulging in far too many obvious questions.