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  • T2 Trainspotting

    T2 Trainspotting


    Roger Ebert called cinema an empathy machine, which is true, but Linklater has also explored its possibilities as a time machine, and Boyle is mining that same vein (so to speak). There’s something elegant and evocative about how he uses his quick flashes of the first movie — as home movies, illustrations of memories, images of ghosts. He’ll intercut two shots of McGregor’s face with twenty years between them in a way that’s striking, because it’s not just the characters that have aged. It’s the actors, and it’s the director. And, of course, it’s much of the audience as well.


  • Gemini



    Aaron Katz, best known for low-key efforts like 'Quiet City' and 'Land Ho!', writes and directs this crisp little sun-and-neon-soaked neo-noir, using its deceptively relaxing palm-trees-at-night aesthetic to set up an atmosphere thick with dread, and push it until a murder almost seems inevitable. It’s the reliable story of the natural suspect (Lola Kirke), accused of murder, who has to investigate the crime herself to prove her innocence. The amateur investigation hits all the right notes (disguises, tailing, snooping through…

Popular reviews

  • Atomic Blonde

    Atomic Blonde


    The first time we see Lorraine Braughton (Charlize Theron) in action, she’s beating the shit out of a dude with the point of her stiletto heel — a smashingly good action beat, and a potent bit of symbolism as well. This graphic novel adaptation from 'John Wick' co-director David Leith is an expectedly entertaining and energetic brew of superspy action and brutally graceful fight scenes/shoot-outs, carried easily by Theron’s considerable gravity, intelligence, and sex appeal. The big set pieces are…

  • Mistress America

    Mistress America


    “In one instant, her behaviors turned from charming to borderline psychotic.” So notes Tracy (Kirke) of Brooke (Gerwig), the title character of Noah Baumbach’s latest chronicle of the bohemian facades and generational navigation in New York City. Free of much of the cynicism but none of the bite of last spring’s 'While We’re Young,' Baumbach and co-writer Gerwig’s screwball treat beautifully captures the way a slightly older, seemingly together mentor-type figure can first seem to be everything you hope to…