Lola Kirke Wrote a Letter to the Editor Over The New Yorker’s ‘Glib’ Gemini Review
“I am disappointed by Anthony Lane’s glib criticism of my character’s appearance in the film Gemini.”
By Hunter Harris“I am disappointed by Anthony Lane’s glib criticism of my character’s appearance in the film Gemini.”
By Hunter HarrisTrust Armando Iannucci, who makes profanity into poetry, to find the hidden hilarity in murderous political upheaval.
By Boris Kachka“Star Wars will do very nicely for those lucky enough to be children or unlucky enough never to have grown up.”
By Kevin Lincoln and John SimonAt best, it is portrayed as a fun, easy throwaway, and at worst, an incoherent and weak attempt to match Marvel’s Avengers.
By Corinna BurfordIt seems to have one thing in common with the other 18 F-rated films.
By Brittany StephanisThe question in this movie's title gets a lot of use.
By Andrew LapinJennifer Lawrence acts her heart out.
By David EdelsteinIt's often unclear whether the film is spoofing thriller tropes, or playing them straight.
By Tomris LafflyThis would-be heart-warmer is as inspirational as a term paper.
By Emily YoshidaThe twisted dream logic keeps the film from becoming a horror cliché.
By Bilge EbiriWhat Beatty projects onto Howard Hughes tells us something about how a megalomaniac contemplates the dying of the light.
By David EdelsteinDirector Jeff Nichols embellishes nothing. With minimal means, he makes the air thick with dread.
By David EdelsteinAmy Adams seems born to be this character.
By David EdelsteinThese lovable little men who sees themselves as tender and romantic are psychopaths who’d kill you out of irritation.
By David EdelsteinSay what you will about Mad Mel, he’s a driven, febrile artist, and there isn’t a second in this war film that doesn’t burn with his peculiar intensity.
By David EdelsteinThe movie is lighter, more fun, and ultimately more satisfying than its weighty predecessor.
By David EdelsteinWhen you’re not laughing at it, you’re laughing with it.
By David EdelsteinStretching the form of documentaries has given us stunning hybrids like Waltz With Bashir, Persepolis, and now, this.
By David EdelsteinI got depressed early, when I realized I’d be spending two hours in the hands of people who didn’t know how to tell a story.
By David EdelsteinThe movie is frankly exhausting, with too much information (and too many brilliant interviewees) to do justice to here. You simply need to see it.
By David Edelstein