The “C” stands for Carine, as in Carine Roitfeld, who was the editor-in-chief of French Vogue for a decade until she left in 2011 to create her own magazine. Director Fabien Constant’s documentary follows the sleekly Parisian, hugely influential Roitfeld as she provides intimate access to all the glamour and absurdity of the world of high fashion. My review for RogerEbert.com.
French director and co-writer Gilles Legrand shows great mastery of tone and pacing in his third feature, which begins life as a domestic drama set at a family-owned vineyard and slowly morphs into a tense thriller. The great Niels Arestrup is a towering force as the world-renowned, egomaniacal winemaker who humiliates his only son at every turn, then chooses another young man as his heir apparent. It’s the stuff of Greek tragedy, as I write in my RogerEbert.com review.
Naomi Watts and Robin Wright bring dignity to this cougar-tastic tale of lifelong best friends who have affairs with each others’ sons. It’s exquisitely photographed but ultimately melodramatic. As I say in my review for RogerEbert.com, it’s what my mom would have called “good trash.”
When the fine folks at RogerEbert.com needed a review of the One Direction documentary, they came to the right place. I definitely have some thoughts on the lads — “a confection, held together by hair product and harmony” — as well as the glossy, superficial way director Morgan Spurlock depicts them.
Juno Temple is a stripper with a heart of gold and Kathryn Hahn is the bored stay-at-home mom who tries to coax her down off the pole in “Afternoon Delight.” The film starts out as an honest exploration of a woman’s life and marriage in flux and turns into a judgy, preachy cautionary tale. My review for RogerEbert.com.
“Ain’t Them Bodies Saints” is a devastatingly beautiful film with an absolutely terrible title. It borrows more than a tad from Terrence Malick but also heralds the emergence of a talented filmmaker in David Lowery. My review for RogerEbert.com.
My RogerEbert.com review of the documentary “Off Label,” an indictment of Big Pharma that tries to encompass so many people and so many angles in such a short amount of time, it ends up breezing through them and providing glimpses that feel rushed and unsatisfying.