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  • Eastern Promises

    Eastern Promises

    ★★★★½

    The meanest, nastiest two-fisted studio crime picture of the Classical era. Only sixty years too late.

  • Father of the Bride

    Father of the Bride

    ★★★½

    Few immediately postwar Hollywood films are so suffused with prescient economic anxiety about the new Golden Age that American capitalism was only just beginning to enter. Of course Spencer Tracy's character is not an industrial worker--and certainly no union man!--but his upward mobility, represented primarily in the home he had built for his family, stands in comfortably for the new perks and social wage ostensibly available to the white worker of the 1950s.

    At every turn, however, Tracy's particular achievements…

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  • Pompeii

    Pompeii

    ★★★★★

    Before the excess of the Earth, of which all are intimately a part, we are made equal. There is a democracy of the terrestrial, and W.S. faces the catastrophic power that makes it so with great compassion and love. Pompeii is profoundly melancholic, but it defiantly refuses nihilistic despair. I was humbled by this film.

  • The Lobster

    The Lobster

    For the first hour, I yearned for Rachel Weisz to show up and enliven the film. During the second hour, I yearned for the film to go back to what it was before. (Note: Rachel Weisz is not one of this film's problems. It's just a bad movie.)