Critic's Notebook

Residential Evil

Haut et Court

MOVIE REVIEW
The Night Eats the World (2018)

By M. TSAI

Based on a novel by Martin Page under the nom de plume Pit Agarmen, “The Night Eats the World” imagines a zombiepocalypse as akin to one hundred days of solitude.

The Kids Aren't All Right

Hillary Spera/2018 Tribeca Film Festival

MOVIE REVIEW
Duck Butter (2018)

By M. TSAI

In some ways, “Duck Butter” feels like the lesbian take on “Chuck & Buck.” The fact that Miguel Arteta directed both notwithstanding, each seems to revolve around the warped sense of love and romance and the arrested emotional development shared by some members of the LGBTQ community – perhaps for being sheltered through puberty.

Necessity Is the Mother of Invention

Focus Features

MOVIE REVIEW
Tully (2018)

By M. TSAI

Screenwriter Diablo Cody and director Jason Reitman's third collaboration (and their second with an ostensibly unglamorous Charlize Theron), "Tully" continues charting the messy womanhood for which the duo's heroines are always woefully unprepared. Ms. Theron plays Marlo, who has her hands full tending to the screaming fits of three tykes while her genial husband, Drew (Ron Livingston), occupies himself with work and video games. Marlo's enviably well-to-do brother, Craig (Mark Duplass), offers to hire a night nanny to help lighten her load. Though initially too haughty to accept, Marlo soon surrenders to his goodwill. The eponymous nanny, played by Mackenzie Davis, turns out too good to be true.

Uneasy Rider

Lorey Sebastian/Entertainment Studios Motion Pictures

MOVIE REVIEW
Hostiles (2018)

By SARAH MANVEL

Did the makers of “Hostiles” realize they were creating something that nails the zeitgeist? One hopes so, because as an example of the current reckoning and all the ways in which it is problematic, “Hostiles” is a towering achievement. As a film, it’s fine, but its importance lies in the current moment.

Big Heat in a Lonely Place

Susie Allnutt/Sony Pictures Classics

MOVIE REVIEW
Film Stars Don't Die in Liverpool (2017)

By ALAN DIMENT

This understated and affecting film signs off with its subject, golden-age screen star Gloria Grahame (played by Annette Bening), picking up a Best Supporting Actress Oscar for her part in “The Bad and the Beautiful.” Grahame makes just a brief visit to the stage – appropriate enough as she was only in the film for nine minutes – expresses thanks and slips off stage right. Given that this archive footage is the last thing we see before the credits roll, one could see it as a subliminal message drumming up support amongst Academy voters for Ms. Bening’s brilliant portrayal of the older Grahame. One can hardly begrudge her this shout out. Four nominations and not one golden boy on the shelf, not to mention being cruelly overlooked for her bravura turn in “20th Century Women.”

Gay to December

Sayombhu Mukdeeprom/Sony Pictures Classics

MOVIE REVIEW
Call Me by Your Name (2017)

By SARAH MANVEL

This is a very good movie designed for people who are helpless against the appeal of Armie Hammer — which, let’s face it, is most of us. Do we have another movie star handsome and suave enough to evoke the Hollywood stars of old? Most movies are built around men either dull to look at or dull to be around, who are not willing to grin and shrug and casually wander where their curiosity leads them so that you’re compelled to follow.

The Death of One Man Is a Comedy

Nicola Dove/Festival du Film Britannique de Dinard

MOVIE REVIEW
The Death of Stalin (2017)

By SARAH MANVEL

I once asked a Russian colleague why all Russian movies were so depressing; he laughed at me and said, “Look at the history!” I said there must be some amusing Russian movies, and he laughed again and said they were so complicated and culture-specific they were impossible for a foreigner to understand. Five minutes’ rigorous research on Wikipedia informs me that the circumstances of “The Death of Stalin” are broadly historically accurate. It is as yet unclear as to whether that will make me feel better.

Family Ties in Knots

Kris Dewitte/61st BFI London Film Festival

MOVIE REVIEW
Cargo (2017)

By SARAH MANVEL

This is a movie about nets. Literal nets as the ones on the fishing boat that is the family’s livelihood, but also the nets of family obligations, community ties and general humanity. Does the movie hold up to the strength of its metaphor? Not quite.

L.A. Confidante

61st BFI London Film Festival

MOVIE REVIEW
Gemini (2017)

By SARAH MANVEL

You don’t often see movies named after a tattoo. It’s even more rare to see a movie about the power dynamics within a female friendship. “Gemini” is about a female friendship up against the truest test: who you call when you need to move a body.

Fostering Care

Lucia Faraig/61st BFI London Film Festival

MOVIE REVIEW
Summer 1993 (2017)

By SARAH MANVEL

They say never work with children or animals, which is great advice for the theater and terrible advice for film. Children’s natural affinity for pretending, their trusting nature and an unquestioning ability to accept their circumstances make them naturals in front of the camera. First-time director Carla Simón Pipó has made something amazing here, since her two main actresses are six and three and give heartbreaking, unaffected performances. The main question is why.