The relationship between the first scene of the Oscars-shortlisted (should’ve been Oscar-nominated) 76 Days and the rest of the documentary is the art of juxtaposition. 

Every year, movie theaters are treated to a handful of fleet-of foot geopolitical thrillers — usually period pieces (easy style points) about historical events most will want to learn more about (easy commercial points) — with starry names (usually more in front of the camera than behind) and workmanlike craftsmanship (the acting tends to trump the filmmaking).

Soul is the latest in a long line of movies that have led me to a self-realization: 

Come True’s score is stuck at 11, befitting a movie that does the most from the jump without ever letting up (for better and for worse).

Yes, God, Yes (what a title!) is a cumming-of-age tale.

Let me get on my critical soapbox for a few paragraphs:

Remember my rules regarding ranking directorial retrospectives?

A proclamation: I’m changing my approach to Letterboxd.