“Moana” is Disney once again branching out, reaching past its own barriers and trying to create something singular that will stand out and become timeless.
French filmmakers and naturalists Jacques Perrin and Jacques Cluzaud, who wowed audiences with their “how did they get those shots” documentaries “Winged Migration” (2001) and “Oceans” (2009), are back at it – and impressively so – with “Seasons.”
As someone with firsthand experience: Being a teenage girl is hard. Filmmakers have tried to capture this truth with varying success, but few have achieved the authenticity of filmmaker Kelly Fremon Craig and her confident and emotive “The Edge of Seventeen.”
“Loving” doesn’t come out grandstanding about racism and hate, despite telling of the injustice against an interracial couple who wedded in 1953, but instead moves in small wispy strokes around casting that is nothing short of inspired.
War drama “Hacksaw Ridge” will satisfy Andrew Garfield fans, Mel Gibson supporters or war movie connoisseurs but little more, as a conflicted Gibson, returning to directing, paints a picture of nonviolence in gleeful slow-motion sequences of violence and bloodiness.
For all their power and pop, Marvel’s comic book tales of the übermensch are pretty pat affairs. “Doctor Strange,” while not as fresh and sassy as “Guardians of the Galaxy,” it is a piquant changeup for fans finding the “Avengers” series getting long in the tooth.
Park Chan-wook’s sensual psychodrama “The Handmaiden” begins in the epic bowels of conflict and strife, but it’s truly a cloistered affair where nothing is as it seems, growing […]
There’s little stitching together the three stories told in Kelly Reichardt’s “Certain Women,” and there may be some missteps in these intimate portraits but for the most part it’s a gorgeous film that finds beauty in silence and the mundane.
Ewan McGregor’s uneven adaptation of Phillip Roth’s Pulitzer Prize-winning novel “American Pastoral” extends the trend of Roth novels not quite hitting the author’s intended notes on the big screen. But there’s so much to like here, and the film ends with a punch.
“The Accountant,” a far-reaching thriller starring Ben Affleck, asks much of its audience – but for some patience and suspension of disbelief there are rewards to be had as it morphs slowly and surprisingly into something more entertaining than it has any right to be.