‘Framing Agnes’ Film Review: Trans Artists and Academics Bring History into the Present

borks. And if that sounds like a really terrible idea, if only because it’s more of an invasion of privacy than usual (which is already a lot), “KIMI” agrees with you.

Tomoko (Muneaki Kitsukawa) — the young daughter of his host family — the real song drops on the soundtrack, a moment of excessive underlining. Another moment, where Smith reflects on rejecting a bribe from a Chisso executive, is complicated by unnecessarily non-linear storytelling and some aggressive scoring from composer Ryuichi Sakamoto.Cinematographer Benoît Delhomme (“At Eternity’s Gate) crafts a naturalistic look with practical lighting and a fluid camera, rendering the film with a dark beauty, but Levitas also incorporates archival and recreated footage of the protests at Chisso, as well as capturing the photographic process with slow, almost completely still black-and-white sequences.

a robot could write them. Some unlucky-in-love woman cannot find a husband (despite looking like a supermodel and having a glamorous job), so a condescending guy helps her become more appealing in order to attract Mr.

Owen Gleiberman Chief Film CriticAgatha Christie was born in 1890, and the heyday of movie adaptations of her novels goes quite a ways back (like, 70 or 80 years). The whole structure and flavor of this sort of delectably engineered whodunit, with its cast of suspects drawn in deliberate broad strokes and its know-it-all detective whose powers of deduction descend directly from Sherlock Holmes, is rooted in the cozy symmetry of the studio-system era.

accused of sexual assault and rape.) There are plenty of other reasons to wish the perfectly watchable “Death” had been better, if only because it’s already an upgrade from the flat, purposeless “Express.” This one’s trappings are plusher, its puzzle and solution niftier, yet still not totally there as a smoothly glamorous, engrossing piece of escapism.Christie aficionados may wonder what a grey WWI prologue in Belgium’s blood-soaked trenches has to do with Mediterranean misadventure. But Branagh and Green believe, a tad obnoxiously, that Poirot is more interesting if he’s less comical oddball and more heavy-headed hero with a lost love.

Flag Day, in which he also stars, he has clearly “still got it”, said Peter Bradshaw in The Guardian. In this “very watchable and well-made family drama”, he plays the real-life swindler John Vogel, who was pursued by the FBI in the 1990s for forging $100 bills on an industrial scale. Penn exudes a “buzzard-like watchfulness” as the sociopathic Vogel; his “seductive address to the camera is almost unrivalled”.

this — this insipid, hackneyed, laughable joke of a motion picture — is actually really cool. And the weirdest part of all is, they’re kind of right.

they all find it to reduce each other to writhing heaps. Though you will surely wonder why Jason Acuña (“Wee Man”) would allow himself to be tied down and covered with raw meat as an offering to a hungry vulture, “Jackass Forever” is not for questioning.

th feature film, Allen returns to a well that is not so much dry as desiccated. The movie opens with Wallace Shawn as our Allen doppelgänger, Mort Rifkin. Mort, an anxious former professor, is also a dedicated cinephile and self-defined intellectual who spends the next hour and a half complaining vociferously to his analyst.He’s reminiscing about a troubled trip to Spain’s San Sebastián Film Festival, which he recently took with his publicist wife, Sue (Gina Gershon).

is a Disney.It’s a self-conscious film, to be sure, driven by a combination of passion and guilt. It’s also a scattershot one that could have viewers wondering if it’s a film about the Walt Disney Company or a film about American capitalism.

thought it was over.” The knowledge that it wasn’t, and still isn’t, is a charge that runs through the entire film.It’s a shame that Lessin and Pildes don’t tell us what these amazing women went on to do after the Collective ended.

awesome,” she says, in a doomed attempt to sublimate her own fear while sharing her bestie’s excitement. And when Jane is hurt by Lucy’s withdrawal, her boyfriend (Jermaine Fowler, “Coming 2 America”) offers the kind of thoughtful advice we’d all want from our significant others.So it does feel a bit jarring when characters around them are sketched more as a symbols or even caricatures.