Joy also delivers some truly remarkable visuals that pop up like small pockets of self-contained brilliance.  At the same time, Reminiscence is one of those confounding movies that will only make you want to stream better ones.  

That shift in focus results in a movie that’s extremely well-acted and passionately made, but also overlong, emotionally aloof, and jarringly uneven. In an awkward irony, Stillwater navigates some choppy seas.

Such a tragedy provokes a tangled thicket of emotions, and Burnham spends 87 minutes hacking through them all, searching for something funny.

Some audiences may find this film to be too mannered and deliberate, but I enjoyed watching Christoph Waltz’s character spin the webs that will eventually ensnare him.

The first two-thirds of Moffie feels like a bucket of cold ice water, and most of the world could use a good dousing. That greatness dissipates into mere goodness, but this is still a film of haunting poetic beauty, and I heartily recommend it.

On one hand, this represents a new angle on the Capone legend.  Unfortunately, this is also an eccentric, unpleasant film that gets lost telling a story nobody was asking to hear.

For all its flaws, Harriet remains a film worth seeing.  Tubman’s life occupies a crucial place in American history.

In Motherless Brooklyn, writer-director-star Edward Norton paints with brilliant brush strokes, but he doesn’t know when to step back from the canvas.

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For this episode, we bring in a special guest, Daniel Gimlin, to discuss Scorsese’s Marvel comments, and talk about The Irishman.  We also drink The Bull, a delicious, fruit-forward red wine.  

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For this episode, we talk El Camino, and drink some delicious bubbly from New Mexico.