'Killers of the Flower Moon'(2023): A Beautiful Tragedy
This captivating film can only be truly appreciated by seeing it firsthand. There are not enough words to describe the terrible beauty one experiences while watching it.

In the shadow of earthquakes which have devastated several parts of Italy, this poignant tale is centered around the last remaining inhabitant of a town destroyed by this natural disaster. Elia (Sergio Rubini) has no intention of leaving his ghost town of Providence which was struck by an earthquake years earlier. While he spends his days in the company of the memories of his wife and his idyllic past life, the rest of the population has moved downstream into the new community housing. Every so often, someone comes to visit him: the local teacher, his friend Gesualdo, and the mayor. But it is a different and wholly unexpected presence which begins to turn Elia’s solitary life upside-down.
This captivating film can only be truly appreciated by seeing it firsthand. There are not enough words to describe the terrible beauty one experiences while watching it.
... La huesera haunts her daily life, leaving people to question her viability as a mother, and Valeria’s lack of satisfaction with her life leave her asking similar questions. These misgivings reach their peak after the baby is born, when Valeria, visibly in a state akin to possession, locks her in the fridge when she won’t stop crying through the night
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.
The Legendary Clades - a family of explorers - find themselves in a strange new world with fantastic creatures awaiting them. Perhaps their greatest challenge will be healing the ties that bond.
‘Oppenheimer’ is a force to be reckoned with. A biopic that respects the audience’s intelligence.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.