The year is 1933. Ruby Rose (Melita Jurisic) is an Australian woman living with her Welsh immigrant husband Henry (Chris Haywood) in the Tasmanian highlands. Cut off from her superjudgmental family, for whom Henry had once worked as a humble farm hand, Ruby remains isolated in her tiny house. Superstitiously terrified of the dark, she begins developing her own folklore about the inky blackness that surrounds her each night; this folklore eventually develops into Ruby's own personal religion, created to ward off the evils that she imagines lurk in every corner. Only by venturing out of her house and rekindling her relationship with her embittered father is Ruby able to exorcise her fears. Almost hypnotic in its stark beauty, Tale of Ruby Rose is proof enough that writer/director Roger Scholes deserves to be far better known.
All in all, “Event Horizon” is a cinematic misfire, begging to be perfected in the future. While it possesses an array of admirable visuals, the film leaves much to be desired. If only we could see Anderson’s preferred cut, which featured more character development and tortuous imagery. In the meantime, I have a catchphrase for this film: In space no one can hear you snore.
'Kajillionaire' is a touching and eccentric story about family, crime, and the search for belonging.
In 'Maestro,' we're left with an impression but not with an understanding of the main character.
Jennifer Lopez leads the story as Zoe, a determined woman who opts for artificial insemination after a string of failed relationships. Lopez's portrayal adds depth and warmth to Zoe
Monster's plot is built around Steve Harmon's false accessory to felony murder accusation, and the anxiety and desperation experienced by him during incarceration and the corresponding trial.
Amsterdam is a confusing movie with a meandering plot amidst a beautiful rendering of 1930s New York
