At the Movies

0
At the Movies, GETTING OUT

At the Movies: ‘Tár’ Gets Awards Season Finally Going

Actor-turned-filmmaker Todd Field makes his much-anticipated and hyped return behind the camera for the Oscar-friendly tour-de-force, Tár, a fancy character study set in the orchestra community that stars Cate Blanchett. Getting one of the greatest living leading ladies of our time to star sure sounds like a great way to come back to the big screen—and for the most part, neither artist disappointed, Megan Bianco writes in her latest At the Movies column.

0
At the Movies, GETTING OUT

At the Movies: ‘Blonde’ Is an Exhausting Viewing Experience

Andrew Dominik’s new historical drama, Blonde, has to be one of the most hateful films Megan Bianco has ever seen, she writes in her latest At the Movies. Those looking for an appropriate depiction of the real Marilyn Monroe are best served finding her interviews and archival footage online, because, she notes, they’re not going to get it from Blonde.

0
At the Movies, GETTING OUT

At the Movies: ‘Don’t Worry Darling,’ There Are Still Worse Movies Out There

Olivia Wilde’s Don’t Worry Darling is a run-of-the-mill psycho thriller starring Florence Pugh and Harry Styles as an idyllic, carefree, happy couple with no real worries or problems in a private Southern California community. Like a lot of psychological suspense films, Megan Bianco notes in her latest At the Movies column, the twists by the end either turn out “mind-blowing” or a letdown.” Unfortunately, in this case, it’s the latter.

0
At the Movies, GETTING OUT

At the Movies: ‘The Good Boss’ Is Middling

The title of Fernando León de Aranoa’s The Good Boss, starring Javier Bardem, is quickly revealed to be ironic, rather than literal, as the audience gets a satirical look on how a successful scales company owner runs his factory in smalltown Spain, Megan Bianco writes in her latest At the Movies.

0
At the Movies, GETTING OUT

At the Movies: ‘Men’ Will Be Men

Alex Garland’s new psychological thriller, Men, can easily be characterized as a “#metoo movie.” But with so much potential for a male filmmaker to convey an important message, Garland misses this mark, Megan Bianco writes in her latest At the Movies column.