After the Wedding (2019)
★★★☆☆
In After the Wedding Bart Freundlich piles unlikely event on unlikely event on Julianne Moore and Michelle Williams in a weepie melodrama that reaches emotional overload.
Julianne Moore
Gloria Bell (2018)
★★★★☆
Gloria Bell, starring Julianne Moore, is director Sebastián Lelio’s ill-advised English-language remake of his Gloria.
Sundance London: After the Wedding (2019)
★★★☆☆
In After the Wedding Bart Freundlich piles unlikely event on unlikely event on Julianne Moore and Michelle Williams in a weepie melodrama that reaches emotional overload.
Wonderstruck (2017)
★★★★☆
In Wonderstruck Todd Haynes opens a cabinet of cinematic wonders as two deaf children’s stories interlink 50 years apart in the magic of New York.
BFI LFF: Wonderstruck (2017)
★★★★☆
In Wonderstruck Todd Haynes opens a cabinet of cinematic wonders as two deaf children’s stories interlink 50 years apart in the magic of New York.
Cannes review: Wonderstruck (2017)
★★★★☆
In Wonderstruck Todd Haynes opens a cabinet of cinematic wonders as two deaf children’s stories interlink 50 years apart in the magic of New York.
Maggie’s Plan (2015)
What happens when you realise your husband is perfect for his ex-wife? In Rebecca Miller’s screwball New York romcom Maggie’s Plan, life doesn’t always…
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Still Alice (2014)
★★★☆☆
In Still Alice Julianne Moore gives a moving performance as a woman struggling to retain her sense of self as she develops early onset Alzheimer’s.
Don Jon (2013)
★★★☆☆
A sexy battle of the sexes, Joseph Gordon-Levitt’s debut feature Don Jon looks at the modern craving for perfection through the prism of pornography.
What Maisie Knew (2012)
★★★☆☆
Scott McGehee and David Siegel bring Henry James’s novel bang up-to-date with What Maisie Knew, proving that the kids are not always alright.
The Kids Are All Right (2010)
★★★★☆
With pitch-perfect performances by Julianne Moore and Annette Bening, Lisa Cholodenko’s The Kids Are All Right is by no means playing it straight.
A Single Man (2009)
★★★★☆
Colin Firth mesmerises as a grieving gay college professor, but can dressing Isherwood’s novel up in a sharp new suit say anything about 21st century queerdom?