‘We Live in Time’ Review: You Can’t Scramble a Love Story Without Breaking a Few Eggs https://t.co/UPbUY8yrxz
— Variety (@Variety) September 7, 2024
‘We Live in Time’ : Florence Pugh and Andrew Garfield have genuine chemistry in contrived cancer drama. They go great together in a mixed-up romance that works overtime to manufacture the highlights of a challenging relationship.
‘Unstoppable’ Review: Jharrel Jerome and Jennifer Lopez Bring Grit and Determination to Conventional but Crowd-Pleasing Sports Bio https://t.co/3GwyXCoYFr
— The Hollywood Reporter (@THR) September 7, 2024
‘Unstoppable’ : Jennifer Lopez sinks into the character here with a layered performance as Judy, full of pain, pride, bitter disappointment in herself and then unexpected resilience and resourcefulness as she tackles the bank controlling their mortgage. Lopez gives a tender and entirely convincing performance as a mother whose unshakeable belief in her son is a crucial part of his foundations. Jharrel Jerome is excellent. He gives the movie a fierce beating heart as a young man who remains vulnerable yet refuses to be defined by what others perceive as his weakness.
‘The Last Showgirl’ Review: Pamela Anderson Gets the Role of a Lifetime in Gia Coppola’s Deep-Feeling Vegas Drama https://t.co/BqSbo7OOna
— IndieWire (@IndieWire) September 6, 2024
‘The Last Showgirl’ : is both the role of a lifetime for Pamela Anderson, one that can fully capture her incredible emotional intensity and vulnerability, and (we can only hope) the start of a brand new career for her. A wonderfully world-weary Jamie Lee Curtis and youngsters played by Kiernan Shipka and Brenda Song, who both get big moments to shine. Curtis is a dynamo of comedic timing. Anderson a heartbreaking presence who fully embodies all of her character’s many moods and personas.
‘Hard Truths’ Review: Marianne Jean-Baptiste Gives a Colossal Performance in Mike Leigh’s Small but Spiky Drama https://t.co/01FxvgzN5g
— IndieWire (@IndieWire) September 7, 2024
‘Hard Truths’ : As played by an absolutely titanic Marianne Jean-Baptiste, whose performance somehow lives up to the standard that she and Mike Leigh once set with “Secrets & Lies,” it would be impossible to overstate the raw spectacle of watching her character make her way through the world.
Orlando Bloom transforms into a washed-up prizefighter in ‘The Cut.’ But strong performances from him and Caitriona Balfe can’t save the overwrought boxing drama. Read Entertainment Weekly’s review. https://t.co/M90FHtJYZV
— Entertainment Weekly (@EW) September 6, 2024
‘The Cut’ : Despite a trio of knockout performances, The Cut is a lackluster boxing drama. Orlando Bloom is the center of the drama, and he disappears into the role of a hard-scrabble, mumbling Irishman. There’s no trace of vanity as he sheds pounds in dangerous pursuit of returning to fighting weight. Bloom moves with the lithe, unsteady canter of a man who’s punch drunk, while the trauma of his horrific childhood emanates from his haunted eyes. He’s matched by a silver-tongued supporting performance from John Turturro, he sells the notion that Boxer cannot release himself from the man’s toxic web. Caitriona Balfe gives a thankless role her all as the lone woman in this boys’ club. Balfe is a sublime talent, but she deserves far better material that doesn’t rely on her to make up for deficiencies in the writing.
