Category: Eleanor Ringel Cater

“Aftersun” is just the sort of movie that might show at the a reopened Tara Theater. It’s a thoughtful, poignant piece; a memory film about a holiday in Turkey 11-year-old Sophie (Frankie Corio) took a couple of decades ago with her father, Calum (Oscar nominee Paul Mescal).

The title of “Your Place or Mine” comes from the premise. Debbie (Witherspoon) and Peter (Kutcher) tried hooking up 20 years ago. They decided instead to be BFF’s, checking in daily even though they live on different coasts and have very different lives.

If you’ve ever wanted to slap a foodie silly, “The Menu” is the movie for you.

If you’re going to dive into Don DeLillo’s lower depths, best take a skilled guide. Like, say, Noah Baumbach. Not that Baumbach has totally succeeded. DeLillo’s 1985 dystopian novel, “White Noise,” is one of those famously unfilmable books

Who’s the killer in “Glass Onion,” the new “Knives Out Mystery?” As someone who wasn’t quite all in on the first “Knives Out,” my expectations weren’t especially high. Still, who doesn’t look forward to a murder-mystery/comedy loaded with stars?

Perhaps not the sins, but certainly the shortcomings of the fathers are visited where you might expect in “The Son,” a sharply-observed, smartly-acted follow-up of sorts to “The Father” which recently won Anthony Hopkins his second Oscar.

The sizable wonder at the center of, “The Wonder,” is its star, Florence Pugh. Her perfectly-pitched performance holds together a film that often feels like a horror movie while flirting with questions of faith and the nature of miracles.

Julia Roberts and George Clooney are huge stars whose on-screen presence has an iconic glow. But when you think about it – you’re reminded that one thing they don’t have is a shared history of romantic comedies.

Sometimes a documentary sets out to tell you one thing and unwittingly ends up telling you something entirely different.

Based on the true story of Charlie Cullen, a nurse who may have killed anywhere from 29 to 400 (!) patients, “The Good Nurse” is a face-off between superb acting and sub-par storytelling.

“The Good House” isn’t a great movie but until its overly melodramatic final 10 or so minutes, it’s a pretty darn good one.

For those of us of a certain age, be we black or white or something in-between, the miracle of Sidney Poitier remains as indisputable as it is somewhat inexplicable.

My instinctive dislike of Lena Dunham’s self-created public persona has admittedly gotten in the way of my evaluation of her new feature, “Catherine Called Birdy.”