‘Marcel the Shell With Shoes On’ Film Review: Jenny Slate Is the Voice of a Cinematic Hug

Carl Dreyer film (Coen’s clearest stylistic influence for the severity of this adaptation).

riot tonight,” says the girlfriend of numbers runner Harold (Leslie Odom Jr.), right before the Newark riots of 1967 start. Worse than this is the scene where baby Christopher cries whenever he sees his uncle Tony and an older female family member says the infant might know something they don’t.The new characters are all one-dimensional, and we learn nothing new about the old characters from the series.

know it.”(Note to Kenny: By describing music you have already written that just needs the right movie, you have publicly disqualified that music from Oscar consideration. If music isn’t written specifically for the movie, it’s not eligible.

.” As the documentary progresses, that question becomes even more mind-boggling. From today’s lens, it is truly inconceivable how a person like Pauli Murray, who contributed so much to our modern concepts of civil rights and gender equality, could remain such a hidden figure in history.

Christmas movies to make uncomfortable points.

This review of “Prisoners of the Ghostland” was first published after the film’s January 2021 premiere at the Sundance Film Festival.Prolific and wildly eccentric Japanese auteur Sion Sono has spent most of his career at the dizzying point at which arthouse bravado meets grindhouse gonzo, and his best films stretch the limits of narrative so far as to leave viewers simultaneously gobsmacked and exhilarated.

Also Read: ‘The Good House’ Film Review: Sigourney Weaver Captivates as a Woman Pretending Not to Be Under the InfluenceSince “The Nowhere Inn” follows Clark on one of her St. Vincent tours, the movie predictably begins as Clark’s narrative but eventually concerns Brownstein and her inability to separate herself from her friend’s art and identity.

does for “The Eyes of Tammy Faye.” But Ben Foster’s transformation in Barry Levinson’s “The Survivor,” which had its world premiere at TIFF on Monday, is something different — because he morphs into Holocaust survivor Harry Haft from two different directions in the same film.In scenes set in the latter stages of Haft’s life, Foster is doughy and sluggish, only slightly recognizable as the actor we know from films like “The Messenger” and “Leave No Trace.” In scenes set during World War II, when

th Century Women” to Lee Isaac Chung’s “Minari,” from John Boorman’s “Hope and Glory” to Alfonso Cuaron’s “Roma.” Writer-director-actor Kenneth Branagh has now tried his hand at the genre, and to say that “Belfast” brings out the best in him would be an understatement.Visually stunning, emotionally wrenching and gloriously human, “Belfast” takes one short period from Branagh’s life and finds in it a coming-of-age story, a portrait of a city fracturing in an instant and a profoundly moving lament