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.
“The Birth of a Nation,” the much anticipated dramatization of Nat Turner’s bloody 1831 slave rebellion, has great timing and relevance in its arrival, given the recent spate of blue-on-black violence. It’s both a look forward and back, and a grim yet provocative one.
Mira Nair films the game of chess with the kinetic energy of a film about football, and rather appeal to one niche audience, she’s captured a story with mass appeal – for the chess masters, the family-drama lovers and little girls seeking a role model.
Back in 1980, when the Iron Curtain seemed impregnable and the Cold War raged, a routine task performed by a 19-year-old air crew member on a nuclear missile went horribly awry – and documentarian Robert Kenner sees the possibility of it happening again.
If you’re still angry with British Petroleum for the 2010 spill in the Louisiana Bay that notched the worst ecological disaster in history, get ready to have your ire stoked by Peter Berg’s harrowing real-life rewind.
To its credit, this “Magnificent Seven” moves quickly enough and it is visually stylistic and crisp, but the whole time I just couldn’t stop thinking about Ford, Leone, Kurosawa, Peckinpah and John Sturges – director of the “Magnificent Seven” from 1960.
Marcin Wrona’s soft-horror thinker “Demon” unfurls a competent and moody bit of filmmaking, which becomes just as much about the dynamics of the society it’s set against as it is about a supernatural incursion.
For the Stoned faithful, there’s good news: “Snowden” marks something of a comeback, a return to the realm of political and historical dramatization that powered “JFK” and “Nixon,” which provided a foundation for the filmmaker’s strong political leanings.