Author Archives: Eleanor Ringel Cater

Having spewed out 10-Best lists for almost three decades at the Atlanta Journal-Constitution and around a decade or so at the Atlanta Business Chronicle and, of course – the Saporta Report (my personal fave), I could probably make a 10-Best list of my 10-Best lists.

Let’s just cut to the chase. “The Lost Daughter” is the don’t-miss movie of 2021.

Kenneth Branagh has bathed his memory film “Belfast” in a nostalgic patina of black-and white. Alas, that’s not enough to give his heartfelt picture the emotional heft he intends.

In many ways, Jane Campion’s new movie, “The Power of the Dog,” is like a psychological Western from the 1950s. If it had been made back then, it might have starred Kirk Douglas (in full curled-lip mode) and a quivery Anthony Perkins.

With the holidays upon us and the studios releasing their awards-bait biggies, I figured a round-up of sorts might be more useful than a single review.

Lin-Manuel Miranda (yes, the guy who gave us a little something called “Hamilton”) makes his feature directorial debut with “Tick, Tick…Boom!,” an exuberant and heartfelt celebration of all things theater.  Even the sillier and less attractive things – such as theater-geek ego and the-show-must-go-on myopia.

2020 was no time to open a movie called “No Time to Die,” even if it was Daniel Craig’s swan-song outing as 007. So, the Bond conglomerate wisely hedged its bets, trusted in the enduring allure of Craig and launched their movie in theaters in fall, 2021. 

There’s been growing Oscar buzz and even a profile in the New York Times for the new Benedict Cumberbach film.

“Well, he was rather a spectacle, wasn’t he?” says George Plimpton, the Paris Review co-founder whose interviews for an oral biography make up the substance of “The Capote Tapes.”

“Dune” didn’t do it for me, but that doesn’t mean it won’t do it for you.

One reason I’m somewhat neutral on the new documentary, “The Velvet Underground,” may be that I dated a guy in the early ‘70s who loved Lou Reed more than he loved me.

An expert rendering of Old West minimalism, “Old Henry” also provides a splendid showcase for the considerable skills of its leathery, well-worn star, Tim Blake Nelson.

Whether he’s writing, directing or both, Paul Schrader has pretty much been making variations of the same movie since the ‘70s when he wrote “Taxi Driver.”

“The Starling” is for the birds. A confused and unconvincing drama about grief, the film draws you in with its powerhouse cast, headed by Melissa McCarthy, and its respected director, Theodore Melfi.

Move over, George and Martha. Make room for the “Together”’ – He (James McAvoy) and She (Sharon Horgan) who deserve their own place in the annals of toxic cinematic relationships.

The newest iteration with Camila Cabello in the title role, mixes the Latinx flash of Linn-Manuel Miranda’s “In the Heights” with the jukebox whirl of such “period” pieces as “The Knight’s Tale.”

“Stillwater” runs deep. A lot deeper than most summer thrillers starring an Oscar-hungry major Hollywood movie star typically run.

Easily one of the best pictures of the year, “The Green Knight” is an eerie and enchanted fantasy epic based on – of all things – an anonymous 14th-century poem with links to Christian mythology and Arthurian legend.