Once Upon a Time In Hollywood
Forgot your password?
Don't have an account? Sign up here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Already have an account? Log in here
Please enter your email address and we will email you a new password.
No user info supplied.
Agnes Varda, the petite, legendary director of the French New Wave, was 89 years old when she directed this generous documentary in collaboration with 33 year old muralist JR. They travel around in a van, with a large camera painted on the side, throughout rural France and meet communities of people to create large portraits of them to plaster on their surroundings. These enlarged photos are like a living photographic museum gallery. This is also a portrait of a cross-generational friendship between Varda and JR that includes a squandered visit to director Jean-Luc Godard. With all of the eccentric personalities, the most fascinating person on camera is Varda herself. This won the top documentary prize at the Cannes Film Festival.
In 1971 "The New York Times" published "The Pentagon Papers," a classified study of America's involvement in the Vietnam War, that led to an injunction stopping further publication of the leaked documents. "The Washington Post," led by publisher Katherine Graham (Meryl Streep) and editor Ben Bradlee (Tom Hanks), continue publishing the documents, forcing the Supreme Court to make a ruling in favor of the freedom of the press. Directed by Steven Spielberg, this is a mostly fast-paced newsroom thriller that glorifies journalism as a rebuke to the modern political climate. Streep does her usual impersonation of a character and is always shown as the lone woman going against a room full of powerful men. Hanks is gruff in a manner that makes him more interesting than usual. In centering the movie around the conflicts going on at "The Washington Post" the movie does a disservice to the journalists at "The New York Times," who broke the story. There are knowing scenes depicting the conflict between journalists and their friendship with politicians, but other scenes that get bogged down in didacticism about the importance of the free press. Written by Liz Hannah and Josh Singer. Cinematography by Janusz Kaminski. Music by John Williams. With Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whitford, Bruce Greenwood, Matthew Rhys.
This drama about an Italian-American bouncer (Viggo Mortensen) hired to be the driver of an African-American classical pianist (Mahershala Ali) on a tour of venues through the Deep South in the 1960s. We see the characters bond as the stuffed shirt Ali learns to eat fried chicken with his hands and the inarticulate Mortensen learns to write romantic letters to his wife. Ali has moments of humiliation that he rises above with dignity that we have seen countless times before.There are similarities to "Driving Miss Daisy" as a portrayal of a prejudiced white person who learns to become more tolerant so the audience can congratulate themselves for their racial enlightenment. The title comes from "The Negro Motorist Green Book," a guidebook for African-American travelers in the mid-20th Century. The title has been appropriated for a phony racial reconciliation conclusion. This material would have been more compelling had it been the musician's story. The performances by Mortensen, and particularly, by Ali are what sustains are interest. Directed by Peter Farrelly, best known for doing outrageous comedies with his brother, doesn't have the same kind of talent for serious drama. Written by Farrelly, Nick Vallelonga, and Brian Hayes Currie. Won Oscars for Best Picture, Supporting Actor (Mahershala Ali), Original Screenplay.
Alfonso Cuaron's semi-autobiographical drama about an indigenous servant (Yalitza Aparicio) for a middle-class family in 1970s Mexico. Filmed in gorgeous black and white with fluid long takes in widescreen, this is an extraordinarily vivid, lyrical view of the sights and sounds of that period with the kind of love and humanity expressed in the films of Vittorio DeSica and Satyajit Ray. Cuaron never belabors the class differences and the political strife. Aparicio, in her film debut, gives a wonderfully expressive, almost silent performance. Marina de Tavira is touching as the estranged wife. This movie is a love letter to the women in Cuaron's life. There are beautiful, haunting passages: Aparicio going into labor during a political protest; children playing outside in the hail; a communal gathering that ends with everyone trying to put out a forest fire; Aparicio wading into the ocean to rescue the children from ferocious waves. Cuaron is credited as the writer, co-editor, cinematographer, co-producer, and director. Won Oscars for Best Director, Foreign-Language Film, Cinematography. In Spanish and Mixtec with English subtitles. Released by Netflix.
Kristen Stewart is mesmerizing as a spiritual medium and personal shopper to a fashion model in this haunting, ambiguous ghost story about grief by director Olivier Ossayas. Stewart is a young American in Paris, working in a job she despises, who spends her days shopping for designer dresses and accessories for a high-end fashion model (Nora Waldstatten). After the death of her twin brother, she stays in his home looking for signs from him and receives messages from an unknown source on her cell phone and communicates with them. As she travels back and forth to London, we see Stewart texting with this unknown source and Assayas beautifully conveys the loneliness in the era of digital technology. Despite warnings not to try on the model's clothes, Stewart is tempted by desire of the forbidden and tries them on. Stewart, who appears slightly frumpy and withdrawn, transforms into a confident, sexy starlet, whether dressed scantily clad or in haute couture. It's a beautifully expansive performance that is her finest to date and places Stewart among the most compelling American actresses of her generation. A rare sophisticated movie about the supernatural that is mysterious without being silly. Written by the director. Assayas won Best Director at the Cannes Film Festival.