Patrick Redmond/Universal Pictures
MOVIE REVIEW
The Turning (2020)
It’s difficult to imagine “The Turning,” Universal Pictures’s newest throwaway in the January trash heap following the dismally reviewed “Cats” and “Dolittle,” being worse than those two debacles. Indeed, music video auteur Floria Sigismondi’s first film since indie gem “The Runaways” a decade ago could pass as respectable if not for its utterly impenetrable final minutes.
Focus Features
MOVIE REVIEW
Tully (2018)
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.
Stephen Vaughan/Warner Brothers Pictures
MOVIE REVIEW
Blade Runner 2049 (2017)
At its heart, the story of the blade runner demonstrates the importance of human feeling over machines. The blurred line of this story (as in the first installment, released in 1982 and again in 1992 in a director’s cut) is the problem that comes when the machines are designed to have human feelings, too. It’s unusual to see a movie exploring what it means to have a body. The failure of “Blade Runner 2049” is how it discriminates between men and women, and how that discrimination surpasses the distinction between human and machine. That failure leaves you with no hope for the future.
MOVIE REVIEW
Breathe In (2013)
2013 Sundance Film Festival
Male midlife crises don't come much more photogenic and tastefully shot than the one endured by music teacher Keith (Guy Pearce) in Drake Doremus's "Breathe In," a film of quiet pastoral anguish that almost entirely does without the loud urban variety. Barring a certain amount of crockery damage and tearful car-driving toward the end, Mr. Doremus keeps the nature of Keith's wandering eye nicely understated, a 17-year itch with roots lying further back than the audience can see. In the absence of explanatory shouting, the air is filled instead with tasteful silences, classical cello and the frequent sighs of Guy.
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