Venice 2017
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‘First Reformed’ Film Review: Paul Schrader and Ethan Hawke Channel Robert Bresson
Hawke’s tormented cleric is part Bresson’s anti-hero, part Travis Bickle
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‘Lean on Pete’ Review: Andrew Haigh’s Boy-and-His-Horse Tale Hits Hard
European director’s U.S. debut embraces both spacious skies and American miserabilism
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‘Downsizing’ Review: Matt Damon Is the Incredible Shrinking Everyman
Venice 2017: Alexander Payne’s sci-fi comedy examines the human condition in both the macro and the micro
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‘The Shape of Water’ Film Review: Guillermo del Toro’s Glorious Romance Blends Horror and Delight
Sally Hawkins and Doug Jones are swoon-worthy as a star-crossed, human-amphibian couple
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‘Suburbicon’ Review: George Clooney Overplays His Hand With Grotesque ’50s Noir
Venice Film Festival: The mid-century design succeeds where the satire and thriller elements fail
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‘Victoria & Abdul’ Review: Judi Dench’s Queen Victoria Keeps This Smarm-ada Afloat
Stephen Frears traffics in cutesy colonialism but the film offers up all the colors in Dame Judi’s paintbox
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‘Our Souls at Night’ Review: Jane Fonda and Robert Redford Play Nice People in a Nice Romance
Venice: This Netflix drama plays it safe, but the leading players have as much chemistry as ever
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‘The Devil and Father Amorth’ Review: William Friedkin Tackles Satan Again, This Time Awkwardly
Venice: The “real-life exorcism” in this hand-held doc plays as phony and/or exploitative
