The film is set in a house where a thug terrorizes a certain unhappy family. He is a psychologist and TV personality, she is a musicologist. The extreme situation in which they unexpectedly find themselves makes them wake up ghostly. Resentments and frustrations hidden on a daily basis erupt with redoubled force. As a result, husband and wife play a ruthless psychological game between themselves instead of uniting in the face of danger.
Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.
Despite the film’s efforts to reframe its heroine with modern complexity, a certain emotional distance lingers.
Overall, Matthias & Maxime doesn't reinvent this romantic concept. But it also doesn't need to. Dolan weaves a story of love, friendship, and life that is both realistic and bittersweet. The film is nuanced and sensual in a way we don't get to see often with LGBTQ characters. It's a film that we can celebrate.
The clever but socially-awkward Tetê joins a new school, and she'll do anything to fit in.
The 1950s lesbian romance is stunning, emotional, restrained, and, simply put, one of the best movies I’ve ever seen depicting a woman-loving-woman (WLW) relationship.
Even without the messaging, Mercy does not hold up as a movie. It's sloppily done and the mystery doesn’t tie together at the end.
