In the ongoing debate of whether sex addiction is a thing the way drug and alcohol addiction is a thing, we get Thanks for Sharing, which is definitely not doing the sex-addiction-is-real advocates any favors.
Nora Ephron used to say that there are two romantic comedy traditions, the Jewish and the Christian. In the Christian tradition, the leads face obstacles that keep them apart. In the Jewish tradition, the obstacles are the leads themselves.
So this is Martin Bonner (Paul Eenhoorn), a quiet, unassuming Australian immigrant who’s been living in the U.S. for decades. In the movie that bears his name, he’s recently transplanted to Reno, Nev., for his first real job in three years.
Rant: It’s been three months since we suffered through Gilles Bourdos’ Renoir. Now we’re served Fernando Trueba’s The Artist and the Model. Let’s end the suspense: They’re the same movie, but awful for different reasons.
Don’t be fooled by all the praise for Ain’t Them Bodies Saints, writer-director David Lowery’s tone piece and homage to similar tone pieces. This tale of doomed criminals in love set in early 1970s Texas is devoid of new ideas, themes or a story.
The Spectacular Now has been compared to John Hughes’ coming-of-age stories from the 1980s, but Hughes’ drama never went this deep, even at his best. Plus, the cast, especially leads Miles Teller (as Sutter) and Shailene Woodley (as Aimee), is better than any ensemble Hughes assembled.