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  • Those Who Wish Me Dead

    Those Who Wish Me Dead

    ★★½

    I’ve seen movies much worse than this one, but I’m low on objectivity here. Taylor Sheridan wrote my favorite films of 2016 (Hell or High Water) and 2017 (Wind River, which he also directed), where his capacity for sharp dialogue, character development, and compelling story was undeniable and exciting.

    There were also some cautionary signs there and in his work on the Sicario films: a penchant for brutality as a sort of character all its own and a potentially distracting…

  • Cherry

    Cherry

    ★★½

    This is what the Russo brothers did with what I have to assume was a virtually endless list of opportunities post-Endgame? Rough.

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  • Little Women

    Little Women

    ★★★★

    I tagged along with my little women to see this, and I loved it. I want to see it again, which is rare for me with period pieces or literary adaptations. Gerwig’s sensibilities are on full display, and the interplay of narrative, score, dialogue, and engaging sentimentality is just right. The cast is stellar, but the real star is Florence Pugh as Amy. I don’t remember the last time an actor caught me by surprise quite like she does here.

  • The New World

    The New World

    ★★★★½

    I’m making my way through Malick’s work in preparation for A Hidden Life. I’ve intentionally avoided reading about any of the Malick films I haven’t seen yet, including this one. It knocked me out. It’s visually stunning, as I expect from Malick, but it’s the poetic form and the resolution of the narrative that so distinctly mark The New World. I’ve never seen anything like it, and the fact that I say that every time I see one of his films makes it no less true this time.