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CORPUS CHRISTI (POLISH: ENGLISH SUBTITLES)

Poland’s Catholic population is approximately 88%; Catholicism informs their lives, behavior, decision-making, asserting its supremacy, domination, channeling its tenets in all avenues of the individual’s existence. Polish director Jan Komasa and writer Mateusz Pacewicz  with searing, intense uniqueness  address the bifurcation of the man and the priest: the man, “Daniel” (outrageously beautiful Bartosz Bielenia) a juvenile delinquent with a bent ... Read More »

THE TRAITOR (ITALIAN: ENGLISH SUBTITLES)

Director Marco Bellocchio’s “The Traitor” is blatantly honest in its depiction of the elitist microcosm known as the Cosa Nostra/Mafia: intransigent rules are enforced by its familial corps; extinction to those whose choices, actions go against the aged manifesto, a code of conduct, silence “omerta”; so keen is their elimination process, collateral damage is minimal. Tommaso Buscetta (1928-2000) was the ... Read More »

DOWNHILL

Swedish director, Ruben Ostlund’s 2014 “Force Majeure”, was a darling of worldwide Film Festivals; I did not care for it: excessive teeth-brushing, massive character manipulation, superfluous, annoying minor roles; that being stated, is was colossally superior to “Downhill”, directors Nat Faxon and Jim Rash’s homogenized version; actors Julia Louis-Dreyfus and Will Ferrell cannot rescue it from well-deserved anonymity. Redundancy, repetitiveness ... Read More »

92nd ACADEMY AWARDS: PENEFLIX PREDICTS THE HAT TRICK!

Vindication has never felt so rewarding; for years I have suffered defeat, going with my gut, shunning the odds, my head and heart in sync; faring better than I imagined, I recognized the brilliant uniqueness of “Parasite” with my first encounter, on a myriad of levels, the film soars beyond assumptions: Biblical,  Shakespearian, mythological, Darwinian; Goethe stated “Before you…there are ... Read More »

MALANG

This Bollywood film, directed by Mohit Suri, is a stunner; magical leads with electrifying chemistry (Aditya Roy Kapur, “Advait” and Disha Patani, “Sara”); plaintive musical score; titillating twists, testing the most intuitive of movie sleuths; it salivates with unrestricted love scenes, prevalent drugs and prostitution; not-so-subtle impotency; revenge served violently, justifiably, icily cold; untoward “coppers”, legitimacy camouflaging malevolent iniquities; Anil ... Read More »

THE ASSISTANT

                                                                                              Director Kitty Green capitalizes on the Harvey Weinstein sexual predator saga that the ... Read More »

CREATED EQUAL: CLARENCE THOMAS IN HIS OWN WORDS

The profundity of this documentary shatters illusions, prejudices, and sears with overdue approbation for a man of stature, scholarship, integrity, worthy of his thirty, reticent years on the Supreme Court; writing more opinions/dissents than any other Justice; Clarence Thomas excels as a “man for all seasons”, champions, as a man for all peoples; defying the preordained slot, he flew in the face of expected codes of conduct, scoring as a neophyte of ingenuity, a black ... Read More »

THE RHYTHM SECTION

Beautiful, Blake Lively actually pulls off the implausible; not to be confused or compared with “Lisbeth Salander” or “Evelyn Salt” she is credible as a vengeful assassin seeking justice for those doomed in an airplane bombing, including her entire family; “revenge served cold” with scalding temerity. Director Reed Morano’s (trained cinematographer), pulverizing concentration on “Stephanie Patrick’s” (Lively) emotional and physical ... Read More »

THE LAST FULL MEASURE

Viet Nam, and a war (1955-1975) that artistically fractured the modern era, America, no longer the universal rescuer, harbinger of safety, annihilator of the nefarious, champion of the persecuted, oppressed, destroyer of autocratic, despotic regimes; art, lost its power to change mankind by its beauty, grace, the Nabis were dead, slaughtered by misplaced jingoism.  “The Last Full Measure”, directed and ... Read More »

THE GENTLEMEN

“Gentleness” is absent in director Guy Ritchie’s slick, schtick caper with veteran actors having the time of their lives: Matthew McConaughey, “Mickey Pearson” an American drug kingpin in London, a role he can perform on auto pilot, wants to sell his underground greenhouse to the highest bidder, erecting a conflict between “Dry Eye” (Henry Golding) and “Matthew” (Jeremy Strong); Michelle ... Read More »

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