KWIT

Ella Taylor

Ella Taylor is a freelance film critic, book reviewer and feature writer living in Los Angeles.

Born in Israel and raised in London, Taylor taught media studies at the University of Washington in Seattle; her book Prime Time Families: Television Culture in Post-War America was published by the University of California Press.

Taylor has written for Village Voice Media, the LA Weekly, The New York Times, Elle magazine and other publications, and was a regular contributor to KPCC-Los Angeles' weekly film-review show FilmWeek.

From time to time in Hirokazu Kore-eda's gently incisive family drama After the Storm, the soundtrack produces a few bars of casual whistling backed by a soft fragment of melody that noodles along with its lead character, stalled novelist and private detective Ryôta Shinoda (Hiroshi Abe). As he bumbles through another dispiriting day in the life, we learn that a typhoon is on its way to the Japanese town where he lives.

The quietly momentous film The Sense of an Ending began life as a sublimely achy short novel by British writer Julian Barnes (for whom it won the 2011 Man Booker prize) about an apparently unremarkable man with the aptly flavorless name of Tony Webster. Partially retired and on the cusp of old age, Tony receives a blast from his youthful past back in the 1960s that shatters his conveniently doctored memory of a long-buried act of vengeance wreaked on two school friends.

He's a handsome fellow who can play all sorts when given half a chance, but Michael Shannon's alarming bone structure and "you-talkin'-to-me?" eyes tend to trap him in many Frankenstein-adjacent roles. Which is why you might be forgiven for spending much of Wolves, a somber family drama with a fun sports movie neatly tucked inside, waiting for Shannon to explode. And he is a familiar coiled spring as Billy, the self-immolating father of a promising high-school basketball star.

As You Are, a coming-of-age movie in which no one comes of age (putative adults included), opens and closes with an aerial shot of two figures crossing a lawn in front of a house. A shot rings out both times, and the action in between circles around that event in time, framed by scenes of an unseen detective grilling the major players for their selective memories of a trauma for which everyone's responsible — yet that no one, least of all the shooter, meant to happen.

There's more than one fractured monarchy in A United Kingdom, a period saga of love, race and colonial politics set in both post-World War II Britain and a tiny African tribal nation then-named Bechuanaland. Some of this really happened: In 1947 the African country's heir apparent, Seretse Khama (David Oyelowo) and white office worker Ruth Williams (Rosamund Pike) cross paths at a missionary dance in drab, foggy post-War London. In the film, their eyes lock across a crowded room; they bond over a mutual love of jazz; that's it, they're hooked for life.

Frank Langella has all manner of elastic gifts, but he's never been the sort of actor to disappear into the many roles he's played over a distinguished career. There's an underlying stern implacability to just about every deplorable villain (and occasional hero) Langella has tackled: intractable obstinates all, who bend others' wills to their own and give no quarter.

If you've been tracking Matthew McConaughey's well-earned victory march from serious babe to serious actor specializing in wilderpeople, it will not shock you to learn that in Gold, a brand new, pretty old-school poem to the American huckster, the actor bares his bottom for a scene that requires him to leap into the unprepared arms of Edgar Ramirez.

A young man about whom we know little other than his name — Leo — arrives in a pretty French village, where, with little finesse and less success, he propositions a muscled sulk of a teenage boy (Basile Meilluerat). Leo, who's played by Damien Bonnard with a kind of predatory befuddlement, has better luck with Marie (India Hair), a shepherdess who calmly takes the sexual initiative.

Rummage through the many movies that get dumped into distribution in the run-up to Oscars night and you'll often find, amid all the prestige, cinematic awards-bait, a smaller film that's perfectly fine — not great — yet that tells us something consequential about the culture that produced it. That's 100 Streets, a sour-sweet British drama about a bunch of walking-wounded Londoners crossing paths as they struggle through life-crises we all recognize — a marriage on the skids, a longed-for child, an uphill battle to rise above poverty and petty crime.

If Pablo Larrain is news to you, he won't be for long. The Chilean director, whose Tony Manero, No, and The Club won critical praise but only modest box office here, has two highly recommended new films in the awards spotlight this year. Like Jackie — a challenging and brilliant portrait of Jackie Kennedy in the aftermath of her husband's assassination — Larrain's Neruda engages in iconoclastic play with clichés that have clung to a national legend, in this case Chile's beloved poet-politician Pablo Neruda.

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