Owen Gleiberman

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‘Christy’ Review: Sydney Sweeney Transforms — and Stuns — in a True-Life Boxing Drama as Powerfully Downbeat as It Is Rousing

When you hear the words “boxing movie,” your first thought may be of something punchy and upbeat. On second thought, however, it’s startling to consider how much pain is built into...

‘The Smashing Machine’ Review: Dwayne Johnson Is a Revelation in Benny Safdie’s Laceratingly Humane Sports Biopic

In the opening scene of “The Smashing Machine,” Benny Safdie’s bracing, clear-eyed, and laceratingly humane sports biopic, we see grainy staged video footage of Mark Kerr (Dwayne Johnson), the mixed martial...

‘Late Fame’ Review: Willem Dafoe Is a Lost Poet Who Gets Rediscovered in Kent Jones’s Enchanting Drama of Bohemia Then and Now

In Kent Jones’s lyrical and enchanting “Late Fame,” Willem Dafoe plays a forgotten New York poet who once had a moment. It was 1979, and Dafoe’s character, Ed Saxberger, was part...

‘La Grazia’ Review: Paolo Sorrentino Opens the Venice Film Festival With a Presidential Drama More Understated Than Usual for Him, and Better For It

The movies of Paolo Sorrentino, like “The Great Beauty” and “The Hand of God,” have always been bursting with color and movement and emotional energy, with torn-up romantic and family passion,...

Owen Gleiberman

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