With midterm elections on the horizon and the increasing political unrest in the country dominating daily headlines, Ike Barinholtz’s film directorial debut, “The Oath,” hits a little too close to home.
In the end, “Beautiful Boy” is more horror than Hollywood, and takes no artistic shortcuts to portray addiction honestly: as incurable, unpredictable, corrosive, and dangerous.
The cast of “Mid90s” focused much more on being real and honest with their responses than being dryly serious and professional.
DaCosta navigates precisely, quietly, starkly, resulting in a small neo-Western that builds without judgment of its characters or the society that has condemned them to their fate.
In this film, the comedy’s most telling moments aren’t funny.
Since direction of the plot is unexpected, the film is never dull, as simple moments can have large consequences and effects. Near the middle of the film, as two characters have a tense discussion in a car with one pointing a pistol at the other, we are never entirely sure whether or not that pistol will go off and, if it does, who will be on the receiving end of the bullet.
Devin Adair '86 compares her experience in the male-dominated sport to her experience trying to break into the film industry post-Harvard.
"A Star Is Born" can feel like it’s waffling between real female empowerment and its elusive approximation.
“Colette” is less a period piece and more a seductive and cheerful romp through one woman’s dramatic actualization of her physical and intellectual autonomy.