|
Post by sgev1977 on Sept 15, 2023 10:27:56 GMT
|
|
|
Reviews
Sept 15, 2023 18:37:00 GMT
via mobile
Post by sgev1977 on Sept 15, 2023 18:37:00 GMT
|
|
|
Post by MagdaFR on Sept 16, 2023 22:42:29 GMT
A-
|
|
|
Post by sgev1977 on Oct 13, 2023 10:52:03 GMT
|
|
|
Post by MagdaFR on Jan 17, 2024 23:14:37 GMT
|
|
|
Post by MagdaFR on Jan 18, 2024 1:49:44 GMT
|
|
|
Post by MagdaFR on Jan 18, 2024 2:03:37 GMT
|
|
|
Post by MagdaFR on Jan 18, 2024 2:22:05 GMT
The Washington Post 2.5/4 You could also call the film — directed with a slack sense of urgency by Mahalia Belo, making her theatrical feature debut, and written by Alice Birch (“Lady Macbeth”), based on Megan Hunter’s 2017 book — slow cinema’s version of a post-apocalyptic thriller. Paradoxically, not juicing up the stakes with expensive effects and emotional baloney has the effect of making the situation seem at times more, not less, dire. Comer is especially good at conveying a sense of genuine, if weirdly relaxed, panic. ----------------------------------------------------------------- Belo’s drama is a mostly interior one. If you saw Comer in the one-woman Broadway show “Prima Facie,” it will come as no surprise that the actress is up to the task of conveying what’s going on inside her character’s head. Such deliberateness and interiority are not for everyone, even by the standards of whatever “The End We Start From” is. The story slows to a crawl toward the end, even with a scene featuring a carjacking. But in its relentless focus on Comer’s Mother with a capital M, as she is called, and her character’s almost primal determination, it gets somewhere that feels unforced and, however uneventful, real.
|
|
|
Post by MagdaFR on Jan 21, 2024 9:59:43 GMT
|
|
|
Post by MagdaFR on Jan 22, 2024 14:10:54 GMT
It´s got more (critic's) reviews in RT. That'for all (63) critics with an average of 6.8.
The top critics (19) rank it a little better, 89 with an average score of 7.2.
|
|