Hustlers is empathetic and understanding in the way it looks at sex workers as also single moms and women just trying to get by in a world where the rich seemingly only get richer. It also works as an enjoyable, empowering extravaganza of physical humor, clever script writing, exquisite fashion and scantily clad underdogs.
In one of the movie's most memorable scenes, Javed and his activist love interest Eliza (Nell Williams) embark on a glorious, mischievous romp out of school and through Luton, singing “Born to Run” and dancing with literally everyone who’ll join them.
They’re made women in an underworld that doesn’t want them, and while that theme is sufficiently explored, The Kitchen disappointingly fails to explore the racial politics it hints at and, aside from the main trio, is full of characters who feel paper thin. The results aren’t criminal, per se, but the movie more often finds mediocrity instead of real nuance.
His [Tarantino's] vision of 1969 Hollywood feels authentic and alive, with a lot of that electricity running through leads Leonardo DiCaprio and Brad Pitt, plus an inspired, understated performance by Margot Robbie as Sharon Tate.
It’s not really a horror movie, although it is plenty horrifying. It’s a love story that’s devoid of sentimentality and romance. And it’s also quite funny at times, though you’re never quite sure the laughs are because of the gallows humor or simply a defense mechanism to keep one’s sanity.
Serving as an “Endgame” epilogue, director Jon Watts’ sequel isn’t as tightly focused or effortlessly charming as 2017’s “Homecoming,” yet it continues Holland’s amazing Spidey run and introduces Jake Gyllenhaal in his top-notch first comic-book role.
The animation is also top-notch: Bo has a bunch of dazzling scenes as a porcelain warrior, and human characters look better than ever. With the emphasis on Woody’s tale, Buzz and the other returning toys spend much of the movie as side characters, but it turns into a true romp when everyone's plots coincide.
Unlike the corner of the entertainment industry it tackles, Mindy Kaling’s quick-witted screenplay for “Late Night” doesn’t go for cheap laughs, but instead wields incisive barbs to successfully make its point.
If this is indeed the end, Dark Phoenix finishes off the X-Men movie saga in frustratingly middling fashion, however fitting for a superhero franchise that only just a few times actually reached its cinematic potential.
The memorable songs return (with some new additions), the movie razzles and dazzles with huge dance sequences and impressive production design, but it’s definitely a more grown-up tale than the original 1992 animated classic.