• Avengers: Age of Ultron

    Avengers: Age of Ultron

    Joss Whedon is too talented to keep making these thin and unremarkable superhero movies, and this is a lazy sequel that feels like more of the same compared to the first Avengers, especially as it has all the problems found in that one and a plot that is even more poorly developed.

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  • The Avengers

    The Avengers

    A fun assembly of superheroes that benefits from Whedon's “Buffy humor” and a well-written dialogue that explores the characters’ personalities and differences, as well as the dynamics between them — even if Banner's self-control issue is too inconsistent along the movie.

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  • System Crasher

    System Crasher

    ★★½

    It's so hard to feel enough empathy for such an insufferable kid, and I honestly don't buy the amount of empathy and forgiveness she gets from the other characters — not to mention how they keep leaving her with other children after she has repeatedly proven how dangerous she can be.

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  • The Quartet

    The Quartet

    There is an unstimulating restraint in this film that makes it feel anecdotal and afraid of embracing the possibilities of its premise, with much of what we see coming off as underdeveloped and failing to convey the intensity it so clearly needed.

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  • Unlearning to Sleep

    Unlearning to Sleep

    You can find some brilliant elements scattered in this schizophrenic, quarantine-born film experimentation — the result of which feels like the director just wanted to throw all his thoughts together in the same project and shake it all to nonsense.

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  • Friends: The Reunion

    Friends: The Reunion

    ★★½

    Uninspired and superficial fan service made for anyone who can give a hoot about bloopers, insignificant trivia, redundant love declarations, Justin Bieber dressed as a potato, or Lady Gaga showing up for no good reason. But it has its funny moments.

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  • The Letter

    The Letter

    ★★★★

    I was awestruck by the ending, thinking it to be truly daring for its time — only to realize it is exactly the kind of “justice” the censors would favor back then. And yet the film is tremendous all the same, with Bette Davis delivering one of her most vigorous performances.

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  • Friendly Beast

    Friendly Beast

    ★★★

    Similarly to what The Hateful Eight did as a microcosm of US culture, this film plays with the different facets of Brazilian society while also putting a more surreal and bizarre spin on things, even though the result is considerably less polished and satisfying than it should be.

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  • When I Was Alive

    When I Was Alive

    ★★★

    The film frustrates more than it rewards and is full of inconsistencies (especially as to the motivations behind certain characters’ actions), but at least it sells its unsettling atmosphere that keeps us always guessing what the hell is going on, right up to its creepy conclusion.

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  • Slalom

    Slalom

    ★★★½

    Favier's almost clinical approach may put some viewers off and make this feel like something we have seen many times before, but it is also this seeming detachment that becomes its strength as it eschews words to let us just witness a teenager's silent awakening to her oppression.

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  • The Boys in the Band

    The Boys in the Band

    ★★½

    To paraphrase a character, this is an experience akin to witnessing a car accident and not wanting to avert our eyes. Or broadly speaking, there’s very little sense of catharsis for all the depressing bickering we witness from a group of such detestable, one-dimensional people.

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  • The Truth

    The Truth

    ★★★

    There isn’t much in this film that we haven’t seen in so many others alike, which is a bummer considering its dream cast (although Ethan Hawke is sadly wasted). In the end, this is a rather superficial (and banal) drama that doesn’t go deep enough into its themes as one would hope.

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