Tag Archives: Julianne Moore

December 2025 Viewing Diary

Marty Supreme (2025; d. Joss Safdie) I have mixed feelings on this, especially the last scene, which is corny as hell. Not as corny as the last scene in Lady Bird, but in its way even more obnoxious. Robert Towne … Continue reading

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November 2023 Viewing Diary

After Everything (2018; d. Hannah Marks, Joey Power) In early November, I holed up in a cozy little house in Connecticut with Allison and Carol. I had to work the whole time, which was a bummer but the night was … Continue reading

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Review: May December (2023)

Todd Haynes’ latest, starring Julianne Moore and Natalie Portman, is super good. I reviewed for Ebert.

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January/February/March 2021 Viewing Diary

Better late than never. I moved at the end of January – a big interstate move – so I’ve been a bit, how you say, busy. Not too busy to keep up my viewing schedule but too busy to put … Continue reading

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March 2019 Viewing Diary

Rumble: The Indians Who Rocked the World (2017; d. Catherine Bainbridge) Mum came and visited me and we watched this amazing documentary about the contributions Native Americans have made to music. It starts with Link Wray. I loved this documentary … Continue reading

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Review: Gloria Bell (2019)

My review of Gloria Bell, Sebastián Lelio’s remake of his own film, 2013’s Gloria, is now up at Rogerebert.com.

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A deliberate nod? See for yourself.

1. Julianne Moore as “Amber Waves”, sitting across from her husband, with a lawyer and a judge present, fighting for visitation/partial custody of her son in Boogie Nights. 2. Gena Rowlands as “Sarah Lawson”, sitting across from her husband, with … Continue reading

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February 2015: Viewing Diary

Two Days, One Night (2014; Jean-Pierre Dardenne, Luc Dardenne). My friend Dan referred to the movie as a “Sunday school lesson” and, you know, I can see his point. But I found it absolutely riveting, one of the best portraits … Continue reading

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Review What Maisie Knew

My latest for Roger Ebert: a review of What Maisie Knew, the modern-day telling of Henry James’ 1897 novel. It’s good. It’s upsetting.

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Great Mad Women in Cinema

Some of these women probably would not qualify for a diagnosis from the psychiatric profession. And perhaps their madness is actually a heightened level of sanity, as is often the case. Nevertheless, they are mad. Wonderfully mad.

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