Tomris Laffly

Select another critic »
Film Journal International, IndieWire, RogerEbert.com, The A.V. Club, The Playlist, TheWrap, Time Out, Variety
For 428 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Tomris Laffly's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Little Women
Lowest review score: 0 The Great War
Score distribution:
  1. Positive: 279 out of 428
  2. Mixed: 106 out of 428
  3. Negative: 43 out of 428
428 movie reviews
view
per page
    • 90 Metascore
    • 100 Tomris Laffly
    The Tale
    It's a bold, significant piece of work: an investigative thriller with a grave finale that stuns you into silence, then, hopefully, something more.
    • 84 Metascore
    • 100 Tomris Laffly
    In the Heights
    Jubilant, unapologetically massive, and bursting with a cozy, melancholic sense of communal belonging, In The Heights is the biggest-screen-you-can-find Hollywood event that we the movie lovers have been craving since the early days of the pandemic, when the health crisis cut off one of our most cherished public lifelines.
    • 84 Metascore
    • 100 Tomris Laffly
    The Rescue
    A stunning documentary of bone-deep moral resonance and cinematic mastery that deserves to be experienced on the big screen.
    • 87 Metascore
    • 100 Tomris Laffly
    Happy as Lazzaro
    Easily among this year’s finest films and laced with an unapologetic social message, Happy As Lazzaro dares one to imagine a reality where each individual would task themselves to be as selfless and morally whole as its main protagonist. If only.
    • 79 Metascore
    • 100 Tomris Laffly
    The Assistant
    The understated film builds into a gut punch that’s more painful than anything in the superficial, recent Roger Ailes exposé "Bombshell."
    • 91 Metascore
    • 100 Tomris Laffly
    Hit the Road
    For every laugh the family lets out, for each merry chance encounter they experience—like an oddly hysterical one with a Lance Armstrong-loving cyclist—there are tears shed in secret, cagey deals made in the shadows and the impending separation they inch closer to with every passing moment.
    • 93 Metascore
    • 100 Tomris Laffly
    Lady Bird
    A sweet, deeply personal portrayal of female adolescence that's more attuned to the bonds between best girlfriends than casual flings with boys, writer-director Greta Gerwig’s beautiful Lady Bird flutters with the attractively loose rhythms of youth.
    • 72 Metascore
    • 100 Tomris Laffly
    Die My Love
    Ramsay lets her film, and her characters, exhale just a little. But there is a lot of earned wisdom and lived-in pain in that exhale, and in the entirety of Ramsay’s masterwork.
    • 89 Metascore
    • 100 Tomris Laffly
    For Sama
    A devastating scrapbook and a confessional journal of sorts. It’s also a personal cinematic endeavor as opposed to a historical crash course in the vein of “Cries From Syria,” another superb documentary on the subject, but one with different ambitions.
    • 73 Metascore
    • 100 Tomris Laffly
    Fair Play
    What’s perhaps most miraculous about this tight and taut film is Domont’s unforgiving economy.
    • 85 Metascore
    • 100 Tomris Laffly
    Eighth Grade
    This is an astonishing filmmaking debut from Burnham, a renowned comedian as well as a musician—you might secretly wonder how a young male not only captured the point of view of an eighth-grade girl so exactly, but also expressed it with such emotional precision. Whatever the secret formula to his experiential accuracy and unexpectedly inventive directorial eye is, the outcome is a deeply serious coming-of-age film that is only light and charming on the surface.
    • 90 Metascore
    • 100 Tomris Laffly
    Cold War
    An aching film on such exquisite pains of impossible love, Paweł Pawlikowski’s Cold War concurrently swells your heart and breaks it, just like the sore memory of a lover that drifted away from your life, or an intensely craved kiss that never was.
    • 95 Metascore
    • 100 Tomris Laffly
    Portrait of a Lady on Fire
    It’s a delicate drama that flourishes through the liberating power of art, where a hopeful yet consuming love affair sparks between two young women amid patriarchal customs, and stays concealed in their hearts both because of and in spite of it.
    • 78 Metascore
    • 100 Tomris Laffly
    Good Luck to You, Leo Grande
    The most groundbreaking thing that Hyde and Brand pull off with “Leo Grande” isn’t merely an honest depiction of female sexuality — although that alone would have been enough to make their film a triumph. Rather, the duo goes further and observes an aging woman while she studiously unlearns her long-held beliefs and constraints.
    • 91 Metascore
    • 100 Tomris Laffly
    Anora
    On the whole, what Baker has created here is nothing short of pure movie magic— his smartly interwoven urban machinations make you giggle and inexplicably tear up on repeat (sometimes within the same sequence), while somehow keeping you acutely aware of the sorrow that is bound to rise to the surface.
    • 79 Metascore
    • 100 Tomris Laffly
    Conclave
    A gradually swelling, deeply intellectual, and unexpectedly fun political thriller, Berger’s twisty film takes the audience behind the notoriously secretive closed doors of the Catholic Church for one of its most private processes: the election of a new pontiff.
    • 72 Metascore
    • 100 Tomris Laffly
    Midsommar
    A terrifically juicy, apocalyptic cinematic sacrament that dances around a fruitless relationship in dizzying circles. We are not stuffed inside a cavernous house of horrors this time around. But be prepared to feel equally suffocated by a ravenous family (albeit, a chosen, cultish kind) all the same.
    • 72 Metascore
    • 100 Tomris Laffly
    The Invisible Man
    Moss continues to deliver what we crave from woman characters: the kind of messy yet sturdy intricacy many of today’s thinly conceived you-go-girl female superheroes continue to lack.
    • 72 Metascore
    • 100 Tomris Laffly
    The Outrun
    It’s a gorgeous artifact and a cinematic experiment that works beautifully, one innovative frame at a time, centered on Ronan’s soaring and soul-restoring performance.
    • 86 Metascore
    • 100 Tomris Laffly
    Happening
    Among Diwan’s greatest feats with Happening is making a case not only for safe access to legal abortions, but also for true sexual freedom that dares to yearn for a world where slut-shaming is a thing of the past.
    • 91 Metascore
    • 100 Tomris Laffly
    Little Women
    Little Women solidifies Gerwig’s one-of-a-kind voice on the page and behind the camera, opening up the classic in a blissful and innovative screen adaptation that feels ageless and vastly of today.
    • 90 Metascore
    • 100 Tomris Laffly
    All of Us Strangers
    In a lot of ways, All Of Us Strangers is a poignant, deeply melancholic exercise on the attempt to bridge the past with the present, a cosmic inquiry into resolving all that was unsaid through second chances that never were.
    • 61 Metascore
    • 100 Tomris Laffly
    Babylon
    Babylon mostly operates in a structure of set pieces, thoroughly earning its not-a-minute-too-long runtime—a whopping 189 minutes—and it’s packed to the gills with stunning craftsmanship.
    • 84 Metascore
    • 100 Tomris Laffly
    First Man
    A giant leap even for the youngest-ever Best Director victor, Damien Chazelle’s technically astonishing First Man is a poetic non-blockbuster of claustrophobic intimacy.
    • 81 Metascore
    • 100 Tomris Laffly
    Invisible Life
    Lush melodramas are a dying breed, especially masterful ones like Karim Aïnouz’s Invisible Life that wear Douglas Sirkian genre conventions on their sleeve proudly and abundantly.
    • 87 Metascore
    • 100 Tomris Laffly
    The Banshees of Inisherin
    Writer-director Martin McDonagh’s soulful masterpiece offers a a windswept elegy on a camaraderie that has reached its inexplicable expiration, as well as melancholic rumination on mortality.
    • 74 Metascore
    • 100 Tomris Laffly
    Sylvie's Love
    Sylvie’s Love feels downright rebellious, daring to exist with its unapologetic old-fashioned quality at a time when many maddeningly seem to dismiss honest-to-god romances and proud women’s pictures as slight and outdated.
    • 78 Metascore
    • 100 Tomris Laffly
    Top Gun: Maverick
    As the jets cut through the atmosphere and brush their target soils in close-shave movements—all coherently edited by Eddie Hamilton—the sensation they generate feels miraculous and worthy of the biggest screen one can possibly find. Equally worthy of that big screen is the emotional strokes of “Maverick” that pack an unexpected punch. Sure, you might be prepared for a second sky-dance with “Maverick,” but perhaps not one that might require a tissue or two in its final stretch.
    • 96 Metascore
    • 100 Tomris Laffly
    Roma
    A richly textured masterpiece, Roma is cinema at its purest and most human.
    • 85 Metascore
    • 100 Tomris Laffly
    The Fabelmans
    It’s Spielberg’s most personal film, one that gorgeously revives the memories of his childhood and youth with a lavish sense of wistfulness and an aptly Hollywood-ized, fable-like touch.
    • 86 Metascore
    • 100 Tomris Laffly
    The Lost Daughter
    The Lost Daughter leaves you haunted, shaken, and crushingly scarred like only the best of films are capable of doing.
    • 67 Metascore
    • 100 Tomris Laffly
    Avatar: The Way of Water
    Avatar: The Way Of Water not only delivers upon everything its predecessor established, but advances them in ways gleaming and ocean-deep, through the eyes and heart of a cinematic storyteller with a passionate and well-documented love of the sea.
    • 83 Metascore
    • 100 Tomris Laffly
    Cunningham
    Kovgan’s ode to choreography master Merce Cunningham is sensational in every sense of the word. Renewing one’s appreciation of the many wonders of the human body and the space in which it fills and drifts, Cunningham celebrates all the things our joints and flexed muscles are capable of, as seen through the mind and poetic dances of an iconic creator.
    • 91 Metascore
    • 95 Tomris Laffly
    La Chimera
    La Chimera is a pictorial delight to luxuriate in, as it is a philosophical wonder on the unknowability of time. The earth belongs to the past and the future, this miracle of a film quietly suggests. We just live in it.
    • 89 Metascore
    • 92 Tomris Laffly
    Killers of the Flower Moon
    Killers of the Flower Moon is vast and vital in its scale, purpose and emotional scope, a Western-thriller and ensemble piece that is every bit a Scorsese crime picture as one can dare to imagine.
    • 80 Metascore
    • 92 Tomris Laffly
    Barbie
    Thanks to Gerwig’s imagination, this Barbie is far from plastic. It’s fantastic.
    • 71 Metascore
    • 92 Tomris Laffly
    The Wonder
    In the end, Lelio earns the powerful close of The Wonder with every temperate turn. His film, a career-best, departs like a birdsong, with an optimistic finale as perfect and revelatory as they come.
    • 81 Metascore
    • 92 Tomris Laffly
    Mission: Impossible – Dead Reckoning
    The team behind this new “Mission: Impossible”—like the makers of all the installments that came before it—seem to know on a deep level why viewers flock to this group of action movies: the indispensable big-screen proficiency and collective soul of the series first and the plot of individual chapters, second.
    • 80 Metascore
    • 91 Tomris Laffly
    The Eternal Daughter
    While The Eternal Daughter manages to sell a truly spine-tingling atmosphere of ghosts, it feels closer to a thought and style experiment in the aftermath. But the film’s time-and-logic bending final reveal arrives as a gut punch nonetheless, with a restrained parting note both ethereal and lifelike.
    • 63 Metascore
    • 91 Tomris Laffly
    Triangle of Sadness
    It’s a stellar film that hits a rare sweet spot as both mainstream, accessible entertainment, and also an undeniably incisive piece of cultural commentary. And best of all, it will keep you on your toes until the sensational final moment of its breezy drift.
    • 78 Metascore
    • 91 Tomris Laffly
    Sorry to Bother You
    A film of mounting artistic imagination, Sorry to Bother You spirals into a type of mind-bending madness that is both persistently fun and one-of-a-kind.
    • 71 Metascore
    • 91 Tomris Laffly
    Blitz
    On the whole, there is an old-fashioned grandness to Blitz, charged by a cumulative sense of civic toughness and rebellious spirit that always spreads itself over a people, a city, or a country when they are collectively faced with unspeakable tragedies they have to endure.
    • 70 Metascore
    • 91 Tomris Laffly
    A Complete Unknown
    A Complete Unknown is an honest film that wants to get close to an enigma, maybe even unlock his mystery a little. After the film, Dylan might not be any less of an unknown, but it’s the film’s breathtaking pursuit that counts.
    • 89 Metascore
    • 91 Tomris Laffly
    The Power of the Dog
    It’s cinematic poetry, if there ever was one, bourgeoning in meaning the more you linger in its shadow.
    • 86 Metascore
    • 90 Tomris Laffly
    The Wolf House
    It’s an endless metamorphosis that unfolds like some kind of real-time art installation, and in all honesty, it can be a touch overwhelming to take in at times — which is why the digital release of The Wolf House is a blessing in disguise, as audiences can rewind to fully appreciate this awe-inspiring film’s layers of details.
    • 76 Metascore
    • 90 Tomris Laffly
    How to Blow Up a Pipeline
    In its final moments, How to Blow Up a Pipeline proves it has the guts and lucidity to challenge even the most capitalist of minds, even if the film never blatantly endorses the extreme measures it depicts.
    • tbd Metascore
    • 90 Tomris Laffly
    Suze
    This is a smart and emotionally immersive comfort movie where you get the happy with a side of sad in the same way that the messiness of our own lives often unfolds, with laughter and tears served as a pair in a package deal.
    • 73 Metascore
    • 90 Tomris Laffly
    Extra Geography
    A film that mines reserves of tenderness in young female angst and cluelessness with loving empathy.
    • 78 Metascore
    • 90 Tomris Laffly
    The Ballad of Wallis Island
    Alive with plenty of droll British humor and with a music-filled, picturesque finale that is sincerely earned, The Ballad of Wallis Island is the best kind of crowd-pleaser: disarming, joyful and full of compassion for its oddball characters. This Sundance charmer doesn’t hit a false note.
    • 76 Metascore
    • 90 Tomris Laffly
    Amrum
    There are no grand moments, enormous revelations or manipulatively overpowering scores in his delicately constructed and produced film — it is as narratively straightforward as movies come.
    • 83 Metascore
    • 90 Tomris Laffly
    The Friend's House Is Here
    The Friend’s House Is Here is defined not by the many constraints that it battled during its production, but by the artistic vision of the resulting work.
    • 70 Metascore
    • 90 Tomris Laffly
    The Bikeriders
    Some films merely offer you a clockwork plot. Others, like Jeff Nichols’ smokin’ cool The Bikeriders, whisk you away with a roar of mood and atmosphere.
    • 63 Metascore
    • 90 Tomris Laffly
    Beau Is Afraid
    Admittedly, it’s all a bit much, an exercise in familial grief, inherited burdens and compressed feelings of guilt, but that excess is entirely the point of Aster’s longest and most ambitious film to date.
    • 75 Metascore
    • 90 Tomris Laffly
    Coexistence, My Ass!
    While there is nothing hilarious about these topics, Eliassi and Coexistence, My Ass do the impossible and deliver radical ideas through humor. Rarely has comedy felt this serious and urgent.
    • 80 Metascore
    • 90 Tomris Laffly
    Nowhere Special
    Nowhere Special is the kind of confident, understated film that doesn’t need to pound the audience with its sentiments in order to make us feel alive and human in front of it.
    • 88 Metascore
    • 90 Tomris Laffly
    About Dry Grasses
    It’s a searing, mesmerizing and unforgettably wintry mood piece and character study.
    • 77 Metascore
    • 90 Tomris Laffly
    The Royal Hotel
    The most brilliant aspect of the script, penned jointly by Green and Oscar Redding, is its flair with sketching out the ups and downs of Hanna and Liv’s friendship.
    • 83 Metascore
    • 90 Tomris Laffly
    The Cave
    This is both an immensely humanist film, and a tough, heartbreaking watch.
    • 83 Metascore
    • 90 Tomris Laffly
    Stray
    Throughout the mostly wordless “Stray,” we wonder with compassion and considerable self-critique whom the society uplifts and supports vs. whom it chooses to disregard and deem invisible.
    • 64 Metascore
    • 90 Tomris Laffly
    Bookworm
    As expansive and inviting as its picturesque New Zealand landscapes, a joyous sense of adventure shines through in Ant Timpson’s Bookworm, a delightfully quirky father-daughter adventure with the perfect blend of childlike wonder and grown-up bite.
    • 83 Metascore
    • 90 Tomris Laffly
    The Only Living Pickpocket in New York
    It’s the kind of unapologetically local love letter to the Big Apple and its less-illustrious denizens that New York deserves.
    • 75 Metascore
    • 89 Tomris Laffly
    Origin
    Origin is so rich, expansive and wildly varied that one could easily see how DuVernay could have turned it into a mini-series. How great that she instead chose a compact and coherent feature, with articulate editing, buttery cinematography (by Matthew J. Lloyd) across various visual palettes of different time periods, and opulent costume and production design.
    • 82 Metascore
    • 89 Tomris Laffly
    Afire
    Few movies this year will be as quietly sizzling as German filmmaker Christian Petzold’s “Afire,” a novelistic and sophisticated character study that kindles inside a chamber piece, as languid as a relaxed summer day and as heartbreaking as the end of a short-lived summer love.
    • 63 Metascore
    • 88 Tomris Laffly
    I'm Your Woman
    A slow burn, sometimes to a fault, I’m Your Woman proudly revives a type of old-fashioned cinema with something new to say.
    • 83 Metascore
    • 88 Tomris Laffly
    Turning Red
    While the film’s slightly bloated finale overpowers some of the leaner moments that come before it, Turning Red flickers with a bright feminine spirit, one that feels new, crimson-deep, and unapologetically rebellious.
    • 66 Metascore
    • 88 Tomris Laffly
    Kingdom of the Planet of the Apes
    To be clear, “Kingdom” doesn’t have the answers. But you can bet your bottom dollar that this rare, deeply cinematic Hollywood franchise won’t stop digging until we get a little closer to knowing.
    • 83 Metascore
    • 88 Tomris Laffly
    Blue Sun Palace
    Tsang has made a small, affecting, and studiously minimalist film here, with lived-in and tactile visual and design elements signaling a major auteur in the making.
    • 83 Metascore
    • 88 Tomris Laffly
    Limbo
    But with his sophomore feature Limbo, a humanistic, tenderly deadpan plunge into the psyche of a Syrian refugee, Scottish writer/director Ben Sharrock sidesteps potential hazards like a patronizing tone and cultural insensitivity with deft, delivering something insightful, genuine, and universally relatable.
    • 86 Metascore
    • 88 Tomris Laffly
    Sabaya
    There is so much earth-shattering bravery on display in the miraculous Sabaya that you wonder how the Swedish-Kurdish director Hogir Hirori managed to pull off a documentary that avoids showy, predictable notes of brouhaha throughout.
    • 75 Metascore
    • 88 Tomris Laffly
    Capernaum
    There is an undeniable neorealist quality to Labaki’s work, bringing to mind not only the first half of Garth Davis’ "Lion," but also the likes of Vittorio De Sica’s "Shoeshine" and Sean Baker’s "The Florida Project" (even though it falls short of the artistic command of these titles).
    • 80 Metascore
    • 88 Tomris Laffly
    Bergman Island
    The finish line in Bergman Island is of the opaque kind. But anything else would have done Hansen-Løve’s wistful sleepwalk through memory, time and cinema injustice. Her film is less a direct, clear-cut homage to Bergman, and more a searching exploration of reality and art in the way they mirror, propel and feed on one another, washing ashore remembrances both dreamy and lifelike.
    • 91 Metascore
    • 88 Tomris Laffly
    The Favourite
    Even if this unique absurdist has not exactly been your cup of tea previously, he might finally win you over with this deliciously “Dangerous Liaisons”-esque and thoroughly female-driven period film, co-written by Deborah Davis and Tony McNamara.
    • 78 Metascore
    • 88 Tomris Laffly
    3 Faces
    Panahi can’t help but flaunt optimism wherever he sees it — he lets it rise above it all despite the odds.
    • 67 Metascore
    • 88 Tomris Laffly
    The Way I See It
    Expect to be moved to tears during this reflective film as clear-eyed as Souza’s photo books, reliving the memories of dignity that once piloted the country and often pondering, “How could we have gone from this to Trump?”
    • 69 Metascore
    • 88 Tomris Laffly
    The Outfit
    Movies rarely come as chic as The Outfit, a thrifty, continually unpredictable whodunit, fashioned with the same meticulousness found in the bones of a deceptively simple suit.
    • 78 Metascore
    • 88 Tomris Laffly
    Kajillionaire
    July’s best and most mature work to date, the often hilarious and gradually heartbreaking Kajillionaire.
    • 63 Metascore
    • 88 Tomris Laffly
    Maria
    With "Maria," about the final days of the iconic American-Greek soprano Maria Callas, Larraín turns his "historic women" movies into a near-perfect trilogy, giving us a stunning conclusion to his series.
    • 56 Metascore
    • 88 Tomris Laffly
    Drive-Away Dolls
    The aftertaste of this madcap escapade is unexpectedly sweet and romantic thanks to its unapologetic commitment to womanly smarts and pleasures.
    • 75 Metascore
    • 88 Tomris Laffly
    Polite Society
    Manzoor demonstratively disregards the cliches that often define Muslim families in cinema (an act this Muslim critic is grateful for) and on the whole, gives us a lavishly costumed and fully realized cinematic outing whose agile camerawork and charismatic leads demand the biggest screen you can find. What an absolute treat!
    • 62 Metascore
    • 88 Tomris Laffly
    The King
    With weighty things to say about contemporary and corrupt institutions of power and even dangers of male hegemony, Michôd’s non-preachy The King comes with philosophical heft and visual authority to match.
    • 75 Metascore
    • 88 Tomris Laffly
    Together
    Rest assured, finding out whether an on-screen couple have what it takes has rarely felt this cutting, and, ultimately, this rewarding.
    • 72 Metascore
    • 88 Tomris Laffly
    CODA
    Most of all, [Heder] makes us see and believe in our bones that the Rossis are a real family with real chemistry, with real bonds and trials of their own, both unique and universal just like any other family.
    • 86 Metascore
    • 88 Tomris Laffly
    The Wild Pear Tree
    Throughout its majestic 188-minute running time, there is a profound sum of self-negotiation in Turkish auteur Nuri Bilge Ceylan’s The Wild Pear Tree; a slow-burning and unexpectedly humorous character study as reflective and impenetrable as anything in Ceylan’s filmography.
    • 77 Metascore
    • 88 Tomris Laffly
    Slalom
    Delivering an unforgettable breakthrough performance, Abita is phenomenal in pitching Lyz on the slippery slope between an adult wannabe and a little kid, boldly wearing even the smallest nuances of her character’s rapidly shifting emotional world on her resolute face.
    • 80 Metascore
    • 88 Tomris Laffly
    Cow
    By the end of Arnold’s lyrical passion project, one feels genuinely connected to Luma and her likes, deeply concerned about their wellbeing amid the grueling circumstances they are obligated to dwell in.
    • 69 Metascore
    • 88 Tomris Laffly
    Bodies Bodies Bodies
    It’s quite a ride even when the tempo drops ever so slightly towards the end; the kind of stuff fun summer entertainment should be made of.
    • 62 Metascore
    • 88 Tomris Laffly
    The Children Act
    The Children Act is perhaps a bit stilted in the overt way it sometimes attempts to spell out its arguments. But director Richard Eyre’s film still poses sophisticated questions around family, religion, marriage, law and the delicate boundaries that can or cannot be crossed in each institution.
    • 86 Metascore
    • 88 Tomris Laffly
    May December
    Despite a heavy-handed cocoon motif that sometimes spells out the story’s themes to a fault, Haynes has done something spellbinding here: heady, grown-up and committed to a refreshing dose of moral ambiguity at a time in cinema where moral pandering sadly seems to be the default.
    • 77 Metascore
    • 88 Tomris Laffly
    The Mustang
    The Mustang becomes an emotional powerhouse in its final act.
    • 77 Metascore
    • 88 Tomris Laffly
    Mile End Kicks
    A movie that will soothe the hearts of every single female journalist who, on various occasions, felt pushed to the periphery while bearded dudes in plaid tossed around their self-satisfied takes, “Mile End Kicks” instantly offers a breath of fresh air about what it means to pursue one’s passion for writing about the arts while being a woman.
    • 68 Metascore
    • 88 Tomris Laffly
    The Wedding Banquet
    The Wedding Banquet serves its richest dish through the shared love amongst its characters, even inspiring a few organically shed tears during compassionate, wisely written moments between Chris and Ja-Young, especially Angela and May.
    • 64 Metascore
    • 88 Tomris Laffly
    Halston
    Compared to the inherent compactness of “Dior and I” that crystallizes Dior’s collective craft and process under its new creative director Raf Simons, Halston is vast, and therefore, less of a thrill to watch than the real-life “Project Runway” challenge thrown at Simons. But it will be no less breathtaking for fashion enthusiasts, and anyone dwelling in the tricky intersection of art, history and commerce.
    • 81 Metascore
    • 88 Tomris Laffly
    Woman at War
    A thoughtful and dynamic blend of genres, Benedikt Erlingsson’s contemporary environmental fable Woman At War continually thrills with a side of laughs.
    • 65 Metascore
    • 88 Tomris Laffly
    The First Omen
    The whole thing is so provocative, beautifully cinematic and in touch with its head-decapitating roots.
    • 87 Metascore
    • 88 Tomris Laffly
    Robot Dreams
    Robot Dreams—as much a movie about coupledom as it is about friendship—sneaks up on you with an ending that both eulogizes the ones that got away and celebrates the memories that they had left behind.
    • 67 Metascore
    • 88 Tomris Laffly
    Lady Chatterley's Lover
    Often draped over each other like a pair of gorgeous statues, O’Donnell and Corrin strike palpable chemistry throughout, selling both their desire for one another and the consequent love born out of it believably.
    • 61 Metascore
    • 88 Tomris Laffly
    John and the Hole
    It’s exciting, quietly volatile stuff that digs refreshingly deep into the fears of the coming-of-age genre.
    • 77 Metascore
    • 87 Tomris Laffly
    Women Talking
    Polley strikes a hypnotizing rhythm amongst the women, who attack despair with cheeky humor (Women Talking is unexpectedly funny in parts) and uncertainty with astute deliberation, respectfully challenging each other on a course of action as much as lovingly braiding one another’s hair.
    • 72 Metascore
    • 85 Tomris Laffly
    El Conde
    Narrated in crispy voiceover like a Grimm tale, the result is something unexpected: fun, bloody and ambitiously centuries-spanning, the film demonstrates with sting over one-too-many freshly-blended heart cocktails that malevolence has always been an everlasting presence amongst us.
    • 74 Metascore
    • 83 Tomris Laffly
    She Said
    It’s immensely satisfying to follow Kantor and Twohey while they take on that toxic system as two working mothers trying to set a good example for their children, sharing resources and a sense of sisterhood down the line. It’s, in fact, so satisfying that you find yourself wishing there was more of that intimate camaraderie throughout “She Said,” which sometimes gets too repetitive in newsrooms and private interview sessions with lawyers, PR spokespeople, and silenced victims alike.
prev
Page:

Top Trailers

See all »
See all trailers »