I find it fine as long as they do not come across purely as haters and they mostly did not, expressing their reasons eloquently.

This was not as dour as I expected. Yes, it gets a bit melodramatic toward the finish, but I think it more than earns its outrage. Johns and Squires both deliver deeply human performances.

Thought this was great. Almodovar goes quiet (original title was Silence) yet still full of emotion, and does Hitchcock while still staying true to himself. He called it his first straight drama and it is a direction I would not mind seeing him explore further.

A lot of cinematic touchstones: E.T. and Jaws! Cure and Pulse (now one of my all-time favorite movies)! Finally watched my first Bresson, his debut feature, Angels of Sin, at the NYFF! The Mother and the Whore during the first week of the new arthouse in NYC, Metrograph. That was an incredible experience.

The Club premiered last year. US release was this year. It also wasn't that good. Still, two debatably excellent biopics so close together is damn impressive. So I feel your pain.

Oh boy, it's here! Always a pleasure.

I believe it opens in limited release on the 28th. Hopefully, it plays near you at some point. It's a real treat

Glad to see Driver get some recognition. His performance in Paterson is so good. The movie, in general, deserves more love than it is getting thus far.

Lovely little film. The low key take on this material is a perfect counter to the bloated self-import of something like the overrated Aquarius.

Remarkable that he was not familiar with Manchester beforehand considering how fully realized the sense of place is. Inspiring from a creative standpoint.

Without question one of the year's best. Lonergan executes with such deftness material heavy enough to crush even seasoned filmmakers. This is how you do a 'weepie'. Not by hammering on and overplaying tragedy, but realizing that it would still have to assimilate into everyday life. The common feel of it grounds even…

Elle is indeed this damn good. The cinema equivalent of a razor wire balancing act, yet it does not merely sustain itself, but astonishes.

There is, but it is the basic "look how violent and over-sexualised games are", though it is done with tongue planted firmly in cheek. Still, probably the weakest aspect of an otherwise great movie.

Her character was in a serious accident, hence the marks. So there was makeup, but related to that aspect of the role.

The acting in this is a bit of a mixed bag. Steve Martin is quite poor and Tucker isn't much better. Diesel is a sweet presence, but there isn't much to his character. Hedlund gets a bit more and acquits himself well. Joe Alwyn delivers a promising debut and Stewart continues to shine in this stage of her career.

The Innocents (1961) and The Shining (1980) are probably still my top two, even though I have only seen them once, a few years ago. I don't rewatch movies as often as I would like. But they stuck.

I shared your skepticism, but this is the (unfortunately) rare case where the social aspects are not used as a crutch. Jenkins portrays it all as matter of fact and the core is as universal as humanly possible. The fact that the people in this case are not ones portrayed normally like this is beautiful and it is about…

It is odd that you call her role in Certain Women a supporting one and her role in Billy Lynn's… part of an ensemble. It is literally the opposite. That little nitpick aside, I am in complete agreement with your statement. She shined in all three performances, Personal Shopper being one of my favorite of the festival.…

While enjoying it, I found this a touch too slight. Maybe it is just the execution, though, because yes, that last one is beautiful, while the one with the highest stakes plays more like a statement of intent than an actual piece. Still, I am glad for Reichardt, that she brings forth works like these. And your review…

Watched this Sunday night at the NYFF and unfortunately came away disappointed. Sonia Braga is indeed great and the filmmaking is well executed, but after the scope of director Kleber Mendonça Filho's debut feature, Neighboring Sounds, I expected more.