Reviews

1,686 Reviews
Sort by:
Filter by Rating:
7/10
Varda, the filmmaker certainly made an indelible mark with this distinct juvenilia
29 March 2020
"The first tributary of its narrative bifurcation is an ethnological essay exploring the daily hurdles and weekend divertissements of the local folks, their livelihood (contending with policemen for fishing in an illegal lagoon nearby), their grief (mortality is high among a philoprogenitive household), their earthly concerns (a 16-year-old girl seeks the approval of her father for courtship), and their unalloyed joy (a jubilant aquatic jousting competition and its attendant festa are faithfully recorded with both intimacy and grandeur), all are enlivened through Varda's unobtrusive regard and well-posited lens."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Exit (2019)
7/10
EXIT, the debut feature of Lee Sang-geun makes for another persuasive entrant to uphold South Korean cinema's high standard of hammering out worthwhile genre works
28 March 2020
"EXIT germinates from a boilerplate blueprint of a disaster movie, when one district of Seoul is shrouded by pestilent gas, released by a vengeful, disaffected scientist, the family of Yong-nam (Jo) happens to celebrate his mother Hyeon-ok's (Ko) 70th birthday in a restaurant there, a former rock climber, Yong-nam has to lead everyone to the roof top of the building before the rapidly ascending gas reaches them, so that they can be medevacked by rescuing helicopters. After a strenuous shinning endeavor, this mission is almost accomplished, save that Yong-nam chooses to stay with Eui-joo (Im), the waitress of the restaurant, also a rock climber, with whom he is infatuated and who has roundly turned down his courtship, when there isn't enough room for all the evacuees."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
8/10
WAITING FOR GUFFMAN is several notches above any number of one's average, campy, feel-good comedies.
27 March 2020
"Ostensibly posing as a documentary interviewing Blaine's manifold townsfolk, from city councilors, UFO experts, to those involved in the musical production, WAITING FOR GUFFMAN is also a jewel of improvisation, the majority of its hilarious lines, dialogue and personal interactions is ad-libbed (though Guest and Eugene Levy nominally take the credits as the scenarists), and delightfully, each member of Guest's stock company is gung-ho to contribute their own laugh lines into the fold, and the entire film is washed with uncynical ironies, from a pair of travel agents who has never ventured out of the town (save for a sexual organ reduction surgery, no less!), to the town's geography-challenged founding father, the much plugged stool manufacture (and those who can perform and utter it with a perfect serious face), not to mention the UFO abduction anecdote, a self-claimed abductee (Dooley) recounts that he has been multiply probed."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
8/10
THE SALT OF THE EARTH is another exemplary documentary whose subject's intrinsic quiddity outweighs the filmmakers' brilliant mastery
26 March 2020
"Rightly, humility is one major attribute which audience can relate strongly to the artist himself, appearing as a soft-spoken, compassionate polymath with fluent French, Sebastião finally confesses, after his grueling experience of witnessing and capturing mass death (succumbed to famine, draught, diaspora, malady, or manmade weapons) firsthand on the tormented continent of Africa, he finds himself losing hope in humanity and deems that no one is not worthy living after all, the career hazard takes a heavy toll on him, and just through his works on screen, audience can vicariously fall into the nadir (if not as deep as his), an utter disillusion of mankind's raison d'être, should the film have finished at that moment, it would become a total blast to not give a toss about anything, at all."

read my review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
7/10
for what it is worth, Wonka's experiment to give decaying human morality another try turns out propitious in the end
25 March 2020
"Once Wonka materializes in the entrance of the factory to welcome the lucky ticket-holders, with a handspring gimmick notwithstanding, the movie's momentum kicks off sizably, what awaits us is a rabbit hole composed of a candy garden, a chocolate river, and a handful of unwieldy contraptions (a psychedelic tunnel, among other things) that are inscribed with its 70s filmmaking hallmarks, including a striking instance of proto-blue screen FX, all enclosed within a vibrant vivarium-scale fantasyland that is the fruition of intensive work of the art production team."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The Truth (2019)
7/10
THE TRUTH holds realism (both emotionally and narratively) dearly at its heart, and Koreeda's anti-sensational methodology is true to his cause
24 March 2020
"Mise en abyme is the first thing comes to your reviewer's mind, not just because Deneuve seems to inherently play a version of herself - "Fabienne" is actually her middle name, who ascends to the top rung of the acting vocation, at the expense of almost everything else (maternal duty, matrimonial harmony, etc.), now her daughter returns from abroad with a mild grudge, especially after the latter discovers that in Fabienne's memoir, facts are completely editorialized at its subject's will -, but also in the movie-within-the-movie, it is Fabienne's own quest to reconcile with her (screen) mother that reflects the strained affinity she forges with Lumir, now, finally, it is high time for an egocentric prima donna, who has seldom deigned to bother the earthly worries, to descend from the pedestal (which means to take off the magical guise and reveal her true feelings), and perhaps it is not too late for Fabienne to find some domestic bliss in her wintry years."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The General (1926)
8/10
the film makes for a satisfying touchstone for new audience to be in awe of a cinema vanguard operating on the crest of a wave
22 March 2020
"Fighting the corner for the Confederate, THE GENERAL is incredibly smart in instilling comic relief into the sclerotic patriotism (Annabelle being a do-gooder on their escape route is pure sexism, but it is too frivolous to quibble), and the final battle, heralded by a sterling barn burner of a train collapsing with a burning bridge, that anticipates David Lean's THE BRIDGE ON THE RIVER KWAI (1957) three decades earlier, is an epitomic showcase of nimble-handedly extruding levity out of the death-dealing cruelty, a loosen saber-blade knows which direction it should be hurled, that said, Keater's screen alter ego is often too standoffish to generate enough investment from spectators, although, his trademark expressionlessness tends to be the outcome out of an artistic deliberation other than the limitation of playacting."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Scandal (1989)
6/10
SCANDAL's saucy subject matter sorely needs a rejiggering
21 March 2020
"What is the quiddity of the relationship between Keeler and Ward? As on multiple occasions, Keeler refutes "I'm not a prostitute and Ward is not my pimp", yet their intimate but perversely chaste co-dependence tickles our curiosity, for that matter, SCANDAL wades into a rarer stretch of waters, to dissect a mutual limerence between a man and woman, without letting their libido steal the limelight, maybe Ward is impotent, his Freudian satisfaction can only be quenched by grooming her into a worldly minx, yet that is anybody's guess. By comparison, the Keeler Affair, Christine's courtesan-like swinging between various parties, from Profumo to Eugene Ivanov (Krabbé), the Soviet spy, only reveals to be a side dish of dalliances, which makes the aftermath even more staggeringly stinging."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Bad Genius (2017)
7/10
BAD GENIUS thrusts a refreshing spin onto a familiar playground with panache, verve and brainwaves
20 March 2020
"A priori, audience can immediately discern the kindred spirit between Lynn and Bank, with a possible if trite romantic subplot in the offing, however, the screenplay doesn't fall for the easy tropes, in lieu it crisscrosses their respective personality modulations, Lynn, who appears none-too-hesitant in consenting to the scam in exchange of material gain at the first place, has to wrestle with her swelling guilty conscience when their scheme goes somehow amiss in Sydney, and finally opts for a clean conscience above all things, whereas Bank, who starts as a righteous wonk, and inadvertently sabotages Lynn's chance of studying abroad, must undergo a diametrical path on the moral compass when the film reaches its ending, not entirely unsympathetic, but Bank's descending into the dark side also obviates a lovey-dovey cop-out and is instrumental to the film's reflection of a society corrupted with materialism, classism and a porous education system, where unspoken rules reside and marks is the only criterion to decide a student's future."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
7/10
The be-all and end-all of Corpus Christi is to bring a new, meritocratic perspective on our modern-day Christianity
19 March 2020
"The healing process of purging the caldron of anger, grief and guilt out of a handful of small-town parishioners pans out with step-by-step lucidity and the ultimate embrace of forgiveness and agape is a hard-won reward but Komasa rarely overreaches himself into making a schmaltzy or homily fest out of it, the film's forte is in its clear-eyed, committed presentation of a none-too-credible story, and piling on the obvious and the understated (the tantalizing sexual consummation, a blackmailing juvie belong to the former and the solemn Last Rites, a tacit love interest the latter), CORPUS CHRISTI roundly puts Komasa's name on the map as a filmmaker very nearly edging his artistic maturity, not to mention it has obtained an Oscar nomination against fierce competition."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Cover Girl (1944)
7/10
one must be stone-cold cynical not to yield to COVER GIRL's upmarket frothiness
17 March 2020
"So, judging by its title only, COVER GIRL is, first and foremost, a showcase for Ms. Hayworth, in its Cinderella-light script, chorus girl Rusty is fortuitously chosen to be the cover girl of Vanity magazine by the editor John Coudair (Kruger), exclusively thanks to a past romance between him and her late grandmother Maribelle (also played by Hayworth in the flashback) plus the benefit of uncanny resemblance, in the wake of her newly gained fame, even Broadway is calling, which creates some discord between her and her boyfriend Danny, the owner of the nightclub she works, it is the time-honored dilemma, whether a man could be altruistic and confident enough to let his woman fly high in her career without feeling emasculated or being afflicted by jealousy. The situation is corny, but never loses its relevance, thankfully COVER GIRL tactfully avoids going overboard with emotional ebullition, and eventually let the girl call the shots, instead of making a meal of a man's wounded ego, that makes a complete difference to today's audience's reception."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
6/10
Doze Niu's vain attempt to Hou Hsiao-hsien's gradualistic aesthetic
16 March 2020
"Albeit its fine production value, pulchritudinous shoreline and small-town setting, the film is irrevocably marred by Niu's macho prospective in term of his treatment of female characters, mostly, the double-standard towards prostitutes and her clients, for example, Lo's abrupt cop-out of consummation with Nini on the eve of her departure smacks of a man's ingrained disparaging of a female sex worker, and a patronizing stance of preserving the purity (which is totally for his own sake instead of hers, as it is her makes the first move), and Jiao has to take her lump for acquisitiveness, but shouldn't she be smart enough to keep obvious harms at bay as a seasoned strumpet whose sole purpose of surviving is to find a way out? One can read a lot of connotations through a director's subjective options in telling the story, and in Niu's case and in hindsight, it becomes somehow telltale that he has been embroiled in sexual assault allegations since 2018 in the MeToo era, as the movie itself can bear out his own tunnel vision regarding the better sex."
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
8/10
THE BAD AND THE BEAUTIFUL might rightly be Golden Age Hollywood's best self-reflective melodrama of its own business, warts and all
15 March 2020
"Be that as it may, what makes the film stand out from the crowd is that it also elucidates a trenchant message, through the mediator Harry Pebbel (Pidgeon), a B-movie producer who gives Jonathan a crack in the business and later cunningly rides on his coattail as his business partner, that the careers of three of them, Amiel, Lorrison and Bartlow, embark on an easy ride after the bumpy start with Jonathan, which avows that although they all have been at the receiving end of some form of deception from Shields (but at the very least, he doesn't leave them in the lurch or being blood-mindedly vengeful), it eventually stands them in good stead, indeed, what doesn't kill you makes you stronger, which graces the film a topical sagacity that we are not always able to divine what is a blessing in disguise or a real hammer blow."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
7/10
THE DIRTY DOZEN's male-pandering slant might take some shine off its conventional appeal as a devil-may-care entertainment
13 March 2020
"But before that preposterous, patly formulated, but unsettlingly vicious climax, the film is actually brimming with lulz in its military drilling process of assessing, bonding and carousing, a gripping momentum never slacks, culminating in a stock victory of a rag-tag of underdogs punching above their weight to outfox regular soldiers during the war games in England, by that time, audience may even begin to invest in those hardened criminals with a smattering of compassion, not least to Robert T. Jefferson (Brown), the sole black prisoner whose commission is as per spurred by racism, and it is indeed him, who is designated to tackle the most dangerous job in the money shot."

read my full review on my blog: cinema omnivore
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
7/10
double-bill time! Two seminal documentaries invite us back to the 1980s, Jennie Livingston's PARIS IS BURNING and Hiroshi Teshigahara's ANTONIO GAUDÍ
12 March 2020
"Only through the alternately eerie and euphonious score, Teshigahara seems to inject some hints of personal commentaries to the rapt viewers, whereas his camera dutifully observes, peers, scopes from varied distances and angles to establish a comprehensive visual overview of Gaudí's grotesque, sui generis, multifaceted art pieces, juttedly ensconcing themselves among our temporal existence and simultaneously distinguishing themselves from any possible angle of our collective gaze, and the most crucial impression is that Gaudí's buildings are never off-limits, they are built for the mass to gawp at, to spend time with, to dwell in, only occasionally, Teshigahara draws on imagery to suggest the possible inspirations which lead Gaudí's creative juice flow (the neo-Gothic influence for instance)."

read my full review on cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
8/10
double-bill time! Two seminal documentaries invite us back to the 1980s, Jennie Livingston's PARIS IS BURNING and Hiroshi Teshigahara's ANTONIO GAUDÍ
12 March 2020
"And that lies exactly the strength and extraordinariness of Livingston's work, since there are already too many instances of sorrow, discrimination and horror incurred to these marginalized individuals (gays, queens and transexuals, predominantly African-American and Hispanic), it is core-shattering to find out that one of the interviewers, Venus Xtravaganza is brutally murdered in 1988, aged only 23, two years before the film's release, and obviously Livingston resists a great temptation not to put that pathos-driven message on the screen for sensationalizing or eliciting our rage and outcry, in the last resort, PARIS IS BURNING is the celebration of a subculture and its members, to inspire and encourage."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
7/10
MOTHERLESS BROOKLYN might be an anachronism, still, it is a fond labor of love holds its own against the mercurial ethos of our turbulent times
10 March 2020
"Edward Norton's second directorial sally, 19 years after, KEEPING THE FAITH (2000), his long-in-gestation passion project MOTHERLESS BROOKLYN should have been awe-inspiring even it is only for the sake of its sententiously orchestrated retrospective flair, transcribed the story (in Jonathan Lethem's source novel, published in 1999, the temporal frame is contemporaneous) to NYC in 1957, the film takes a nostalgic leaf from cinema's archetypes of gumshoe mysteries in a bygone era, not least Roman Polanski's exemplary CHINATOWN (1974). A fedora-donning Lionel Essrog (Norton), shadows suspects and pieces together paper trails in the aftermath of the unceremonious liquidation of his mentor Frank Minna (Willis), who runs a detective agency, and to whom Lionel, the titular "motherless Brooklyn", owes everything, as an orphan taken under his wings."

read my full review on my blog: cinema omnivore
0 out of 1 found this helpful. Was this review helpful? Sign in to vote.
Permalink
6/10
OFFICE reflects more stamps from Sylvia Chang's pathos-laden felicity than Johnnie To's rough-and-ready stock-in-trade
7 March 2020
"Scripted by Sylvia Chang (one might wonder how come she didn't direct the film herself, one answer probably is that To is more bankable to secure its none-too-meager budget), she plays Winnie, the CEO of a high-flying corporation called Jones & Sunn, whose chairman Mr. Ho (Chow) is also her lover for more than two decades, as the company is going public, she is promised to be a major share holder. Meantime, Mr. Ho sends her own daughter Kat (Lang) to work anonymously as an intern (with only Winnie knows the lowdown), and Kat meets another tenderfoot, the ambitious but doe-eyed Lee Seung (Wang), romantic tingle eventually materializes as the film follows through their wide-eyed experience of how a corporation operates under the savvy supervision of Winnie, but also cracks start to show when the IPO process is undermined from within, especially by David Wong (Chan), the mid-level executive who commits some hanky-panky both financially (mad keen on earning "double" in the stock market) and sexually (also a casual lover of Winnie), and when his gamble falls through, he has to wheedle Sophie (Tang), the accountant hailed from mainland to appropriate the company's money to save his skin, on the false promise of his amorous fondness."

read my full review on my blog: cinema omnivore
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
8/10
BROADCAST NEWS is too level-headed and smart a rom-com for that often derogative bracket
5 March 2020
"First thing first, BROADCAST NEWS is remarkably and intransigently candid in exploring a successful career woman's conundrum of opting for her ideal "the significant other", it is a walk-on-the-eggshell task, but J.L. Brooks' script upholds the strong woman-liberation ethos and offers Jane a firm purchase in her undeterred principles and journalistic ethics, even if the big switch near the end looks like a mote in the eyes of today's audience who has been weaned on the outrageous untruth from umpteen reality shows or/and the epidemic of unscrupulous journalism, it only reminds us a simpler bygone era when high moral yardstick can be erected to be a dealbreaker. Also judiciously, the story allocates some room for the non-virulent interrelation between the two male competitors, both Tom and Aaron appreciate each other's virtues and there is no grudge between them, how rare to see that happen on the screen in an 80s oldie!."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Jungle Fever (1991)
8/10
Spike Lee's JUNGLE FEVER is still grievously topical for its content, but in its narrative form, it is one of his most lucid, cohesive practice
4 March 2020
"The truth is, there is another violent sting in the tail, but that doesn't concern racism and it occurs behind the closed door, that manifests the topos rampant among the key demographic, the drug addiction, yes, the Purify family has a black sleep, the firstborn of The Good Reverend Doctor Purify and his wife (Davis and Dee, both as expected, are terrific as a stern father and a doting mother, respectively), Flipper's elder brother Gator Purify (Jackson), is an out-and-out hophead who spends the whole film soliciting money from his kindred, a breakthrough turn from Jackson which notably earned him an acting award in Cannes, not for BEST ACTOR, but a special BEST SUPPORTING ACTOR (an award they don't accord annually), here Jackson is so lived-in in that jittery, jacked, importunate state as to dwarf Halle Berry's big screen debut as Gator's fellow crackhead into affected rants of profanity, and Lee also vehemently ram the hellscape of a crackhouse into every viewer's throat, if that doesn't dissuade you from shunning the substance abuse, nothing ever will."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
8/10
an audacious sapphic testament of conspiratorial sororal solidarity and explicit sexual desire
2 March 2020
"Therefore, Marianne and Héloïse's story starts with a white lie, which will in due time be cleared when the two grow fonder of each other, to echo Sciamma's sobriety that there is no room for falsehood to encumber their unalloyed emotional entanglement, and extraordinarily, she also exhibits a dab hand to instigate, coalesce and concretize the warmed-over process of how two people falling for each other: their alternate, tentative gazes from one to another when they stand at the edge of the escarpment, mellow into mutual appreciation, nascent attraction through tête-à-têtes, and during the Countess's absence, the two revel in their candid, unbridled pleasure once mendacity is held at bay, optimally whipped up by a vespertine sylvan encounter with an otherworldly, soul-reaching all-female chant among bonfires, when momentarily "the lady" literally catches on fire, a visual metaphor of their fervidly ignited passion, and the ensuing consummation is par for the course."

reading my full review on my blog: cinema omnivore, thanks
1 out of 3 found this helpful. Was this review helpful? Sign in to vote.
Permalink
7/10
ONLY ANGELS HAVE WINGS asserts itself cogently as a sophisticated drama about collegial regulation, unsentimental confraternity and hard-nosed redemption
29 February 2020
"Grant has scarcely stepped into the shoes of a macho type like Geoff, who has an almost fatalistic obsession with his job, which is ill-equipped with low-end aircrafts and frequently engulfed by an unsafe environment for flying, mortality runs high among the high-flying pilots, an opening gambit shows how Bonnie viscerally experiences an emotional rollercoaster from leery, chipper to utterly distressing in a succinct 20 minutes, and is she cut out for a woman on terra firma who is able to perennially wait and pray for the safety return of her derring-do-obsessed man on a daily basis? Surely Bonnie tosses and turns around this rub, yet she barely can get an affirmation from Geoff, who has been once bitten and twice shy, purports that he will never ask any woman to fit in that particular role, so the connotation is clear: it is totally at the peril of any gal who accepts the task on her own volition, and only a male creature built like Cary Grant has that enormity of allure and persuasion for that whopper of female subjugation."

read my full review on my blog: cinemaomnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
8/10
a realism-inflected heart-warmer that holds tenderness and wistfulness dear to both its heart and its salt-and-pepper protagonist
27 February 2020
"The Wind City is obviously not salubrious for Harry, ergo, he continues his ride westward, to reach L.A. which is the turf of his youngster son Eddie (Hagman), a real estate agent. After several brushes with the Star-Spangled capitalism paraphernalia (casino, high-end prostitute, a succinct stretch in the prison cell for public urination), Harry arrives his destination safe and sound, but Eddie turns out to be another disappointment, however, the sunny climate is rather beneficent to his wellbeing, and as an independent old fellow's entitlement, Harry manages to settle down without much trouble, only there is no magic potion to prolong Tonto's longevity, 11 human years is approximately the cat year of 77, Harry must brave the farewell with misty eyes and more dose of melancholia, but worry not, a new, similar feline friend is not so far off, even some twilight romance is rosily beckoning."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
The Two Popes (2019)
7/10
THE TWO POPES comports itself satisfactorily with a winning formula and sterling cast
26 February 2020
"Ratzinger, first appears as a man full of conceit and acts quite curt to Bergoglio during the first conclave in 2005, as he is a dead cert to the papacy. 7 years later, after being personally embroiled by the detrimental scandals, he invites Bergoglio to his summer residence, the Palace of Castel Gandolfo, while the latter is intent on resigning from his archbishop title, the former harbors an arrière-pensée which prompts him repeatedly parry the latter's request, instead, the two discuss at lengths about their different views on the church and God himself, as the topic goes personal and the mood is never far from cautiously convivial, although their chasm starts to cohere."

read my full review on my blog: cinema omnivore, thanks
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
8/10
Tillier's performance transcends the time-worn neglected wife's woe to a mesmeric it-takes-two-to-tango complex
25 February 2020
"Shot with a nimble-fingered, compulsively twirling and rotating camera, MR & MRS ADELMAN freewheels in an almost mercurial form through the tonal discrepancies derived from a mishmash of components: a heady rom-com about a girl sets eyes on her Mr. Right and never let him go, a cynical satire on a writer's block (Victor's unpremeditated fixation with being Jewish, he even alters his bourgeois, Gentile surname de Richemont to Adelman), fame and egregious ego, an astringent matrimonial drama plumbing a husband's sexual frustration and a wife's desperation to hold onto the breadwinner of the family, or a reportage on gender politics within a nuclear family, but between Victor and Sarah, the one who gets the oneupmanship is evident along the way, as the story is as much an affirmation of a wife's high-wire maneuver of molding her husband into the man she wants (if not necessarily she worships) him to be, even without that final volte-face, as a no-holds-barred dissection of a tumultuous relationship that often blights a middle-class union where self-efficacy is foregrounded."
0 out of 0 found this helpful. Was this review helpful? Sign in to vote.
Permalink
An error has occured. Please try again.

Recently Viewed