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  • The Handmaiden

    The Handmaiden

    ★★½

    Cruel Intentions for the auteur crowd, but with all the raunchy sex us-then-fifteen-year-olds wanted but the PG-13 rating wouldn't allow.

  • The Sense of an Ending

    The Sense of an Ending

    ★★½

    Essentially about how we are so often the worst teller of the stories of our own lives.

    And while Nick Payne's adaptation of Julian Barnes' novel is honestly introspective and wise about its protagonist's self-pitying, self-absorption, and an aging inflexibility to account for other perspectives besides his own, the script has neither the accessibility nor the feather-light humanism Payne has previously brought to weighty themes in his own work on the stage.

    In fact, Payne already addressed the nature of…

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  • Maggie

    Maggie

    Moves slower than a zombie shuffle and the greyscale cinematography only adds to how tiresome this feels.

    You don't put such a huge presence like Schwarzenegger in such a small film.

    You don't give the Governator a shotgun and then have him not use it.

    You don't put an action star in a father-daughter drama and expect him to bring the narrative's expected range of conflicted emotions.

    This is woefully misconceived, right down to the most unconvincing family unit to…

  • The Love Witch

    The Love Witch

    ★★★½

    A meticulously envisioned, fetishistic knickknack of 1970s occult sexploitation, with such technical witchcraft of lighting, camera movement, and costumes that unlike so many contemporary attempts at cult curio, truly becomes the very thing it evokes.

    The black magic of Anna Biller's singular vision of writing, direction, music composition and hand-stitched design elements would be convincing enough on their own, but what makes the spell truly bewitching are the fantastic, period-appropriate performances across the board.