Saoirse Ronan
Science fiction is a lot harder than it looks. On one end, the writers and…
In the West End of 1950s London, plans for a movie version of a smash-hit play come to an abrupt halt after a pivotal member of the crew is murdered.
With an eclectic cast and unique form of storytelling, The French Dispatch is one of the most light hearted ventures of the year.
Ammonite is a cold, distant viewing that rewards the viewer in sporadic intervals, confident that it will find the right audience.
The film is inspired by the life of British paleontologist Mary Anning and centers on a romantic relationship between Anning and Charlotte Murchison.
As the decade closes out, the push for female centric films and depth seems to be far from waning. These are some of the best female characters of the 2010s.
From Gerwig’s directing, to Yorick Le Saux’s cinematography, to the performances, to the score by Alexandre Desplat, this is one of the best movies of the year. It is a feel good movie for the whole family, especially sisters.
Lady Bird is one of the best modern coming of age stories, but the greatness likely stems from the small scenes many audiences might miss.
Mary Queen of Scots has no shortage of talent in front of the camera to make it one of this year’s most overlooked but satisfactory films.
Mary Stuart’s attempt to overthrow her cousin Elizabeth I, Queen of England, finds her condemned to years of imprisonment before facing execution.
On Chesil Beach feels like three separate character studies awkwardly forced into one occasionally incoherent film – but with a characteristically brilliant Saoirse Ronan performance at the centre, it is never anything less than compelling.
The Seagull is a gorgeous adaptation of one of the world’s most beloved plays. The characters are not always likable, but what the film has to say about love, art, fame, and other human desires remain powerful even in the age of Internet celebrity.
Lady Bird is an inspired coming-of-age story by first-time solo director Greta Gerwig, containing a plethora of dynamic performances to boot.
Loving Vincent is a stunning work of art, with every frame a Van Gogh-style painting, and it’s intriguing on a narrative level as well.
There is a moment about halfway through Brooklyn when Saoirse Ronan’s character is shown as a distant speck in a giant field of green grass, as if lost amongst the lush vegetation. The moment comes soon after she has decided to go visit her mother in Ireland after a loss in the family; though not immediately apparent, it foreshadows her soon-to-come inner conflict, which will make her question where she truly belongs. Such a gorgeous and symbolic shot is representative of much of Brooklyn, which is far deeper than its relatively straightforward subject matter would imply.
