Hyper-stylized in a way that papers over the plot problems for a surprisingly long time. When the third act comes along, Oz Perkins so thoroughly gives in to his most bonkers instincts that the film collapses under its own skittering unreality.
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Angel Face 1952
This film noir's fine slow burn becomes simply slow in the third act. Still, Jean Simmons is fantastic all the way through. She plays the blooming femme fatale and then pivots effectively to a person numbed by guilt.
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I'm Your Woman 2020
Director Julia Hart (who is also co-credited on the screenplay) brings smart, lean storytelling to the film, judiciously employing neo-noir trappings. She has a particular panache for understated conflict, lending the material an air of battered accuracy that recalls the grit-and-grime cinema of the nineteen-seventies era in which the film is set. Rachel Brosnahan is very good in the lead role, conveying that discomfort and dawning confidence of a person who was expecting that self-sufficiency wasn’t an attribute she’d be needing in her life.
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The Main Event 1979
A fairly by-the-numbers comedy that is regularly enlivened by Barbra Streisand's zesty bravado and charmed charisma. The more the plot sticks with boxing, the better the film is, at least until an ending that doesn't really make much sense. The romance is a flop, mostly prompting a desire to watch the superior Streisand-O'Neal pairing in WHAT'S UP, DOC? instead.
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