Carey Mulligan
Megan Twohey and Jodi Kantor break a story that helped launch the #MeToo movement and shattered decades of silence around sexual assault in Hollywood.
Promising Young Woman sacrifices its opportunity to deliver the ultimate revenge fantasy for something unexpectedly profound and, thematically necessary.
The Dig finds a good old tale of British excellence but never quite brings it to life failing to avoid trite pitfalls along the way.
The Dig depicts the discovery of the Sutton Hoo burial site on the property of Edith Pretty.
Director Jacqui Morris tries to escape the staleness of adaptating of A Christmas Carol by presenting the story as a modern dance dreamscape.
Wilson Kwong spoke with Bo Burnham, co-star of Promising Young Woman, at Sundance 2020, about his experience acting in a bigger role after coming off directing Eighth Grade.
A young woman, traumatized by a tragic event in her past, seeks out vengeance against men who cross her path.
In Paul Dano’s Wildlife, a boy witnesses his parents’ marriage falling apart after his mother finds another man.
Wildlife, an intimate period piece, is an assured directorial debut driven by three stellar performances.
Mudbound is a gorgeous and affecting film, regarding themes of racism and the after effects of war in 1950s Mississippi.
Baz Luhrmann is a divisive director. His unique blend of pop culture references coupled with highly choreographed, hyperbolic sequences can, for some, prove distracting. Certainly, these criticisms are understandable, if not valid.
As Oscar Wilde said, life imitates art far more than art imitates life, and that’s certainly true when it comes to Carey Mulligan’s recent outspokenness on women’s rights – hot on the heels of her stunning performance in Suffragette (2015). In recent media interviews, she’s talked about the inequality that exists in Hollywood, including the wage gap between male and female actors and the lack of films by female directors. But she’s also gone beyond that, to talk about Hollywood’s lack of interest in telling stories about the lives of women.
Suffragette has been grabbing the attention of the media and public long before it was even released. First, there were rumours that there were to be no women of colour in the film (this is true). Then there was the at best ignorant, at worst painfully offensive campaign led by Meryl Streep and the rest of the cast, featuring photos of them wearing t-shirts stating ‘I’d rather be a rebel than a slave’.
Every now and again, a movie adaptation of a novel is made by the perfect directorial fit for the source material, that helps it stay true to the original text and create a new visionary approach that helps it stand on its own two feet as a distinctive work of art. Danish director Thomas Vinterberg has had an eclectic career, yet is mainly renowned for his two emotionally fraught dramas about the devastating effects of child abuse, his 1998 debut Festen (The Celebration) and his previous feature, 2012’s magnificent The Hunt. These movies are excellent in how they don’t spare the viewer from the histrionic emotions that engulf the characters and completely ruin their lives – The Hunt, starring the always-fantastic Mads Mikkelsen as a primary school teacher wrongly accused of abusing a pupil, could easily draw comparisons with Thomas Hardy.
