Let’s Meet Halfway is a technically proficient small indie that does the damnedest with what little it had to work with. I’m going for forget all about it by the end of this week. 5.4/10
Tag: <span>language: english</span>
acques Audiard took a series of big swings with Emilia Pérez. And he struck out on almost all of them. 4.5/10
I really recommend this one. It’s a great example of a comedy specifically made on a small budget that maximizes all of its good qualities and minimizes its limitations. 7.1/10
The Midwife’s Tale is something new in WLW movie canon, a bedtime story. And it’s not just new, but well executed and not-so-subtly radical in its themes of queerness, feminism and reproductive health in medieval and modern times.
With everything that’s happening right now it’s not exactly the time for a movie such as this. But as has become apparent to me, it is never gonna be the time for this. And I fear that Kiss Me Kosher only gets less funny as time goes on. 5.0/10
Jules of Light and Dark has much in common with its protagonist. Both are vague, aimless and don’t evoke any strong emotion in me as a viewer. 3.6/10
Over Easy shows a strong understanding of what is realistically possible for a film with a small budget. It is a small, focused story with funny moments. However, I worry the story might actually be too small to fill out a feature film. 5.1/10
Love Is a Map is a decent indie movie. Shame it left almost no memorable impression on me. 5.2/10
I cannot say the film is bad necessarily, but it’s just really something I didn’t need to see. Both because I’ve already seen other Flunk movies and because I’m not at a point yet where I want to see a romance that’s directly regarding the Covid-19 pandemic. 5.1/10
l just think if you’re going to make a story as melodramatic as Who Am I Now? that you need to have some specifics. It can’t just be constant scenes of women crying, declaring, “I can’t do this” and running away. 3.2/10