Put Isabelle Huppert in dark sunglasses and red lipstick, you have instant witchy, murderous intentions, a skill she deploys in White as Snow like a superpower.
Director/co-writer Anne Fontaine obviously saw Lou de Laâge dancing with wild abandon in The Wait, and thought to double down and have her do the same here twice. Arguably, this is also a superpower of the mesmerising ingénue, whose blend of Emmanuelle Béart and Christa Théret (certainly, she seems to be enjoying the kind…
The shadow life of queers lived in ghastly, dismal, mothball gloom. In that expansive loneliness, the constant contemplation of the enigma of other people who can live joyfully in a present that they resent, which the slow crawl of time reciprocates with the torment of stultifying eternity.
That there is so much beauty in this breakdown—a language and expression of feeling of such libertine eloquence, bitter discernment and poised refinement, that adds a purposely hidden dimension of personal mania at…
In place of rapey anal jokes (unless you count the title), we've got an extended fingering gag!
They may dress like it, but none of the characters or the makers of this repellant trash have any class or clue about acting like a gentleman.
For a second time, Matthew Vaughn tries to sell us on the idea of Colin Firth's Harry Hart being a firm believer of "manners maketh man", but these are empty words, for this even fouler-mouthed sequel's…
In my least favourite decade of film, The Fabulous Baker Boys is immediately one of my favourites of the '80s for being the polar opposite of the avarice represented by the era on-screen.
Hard-bitten, wintery photography makes the bottom of show business feel bottomless; the small-time struggles of a lounge trio cut through with a line of smart-alecky cynicism as sharp and sad as unforgiving Seattle winds.
Pithy patter masks fifteen years of pathetic artistic compromise, while a constant fog…
