THE UPSIDE – Review by Susan Granger

Based on the 2011 French film The Intouchables, this heartfelt comedy is about the developing friendship between an ex-convict and a quadriplegic Manhattan billionaire. Confined to a wheelchair after a devastating paragliding accident, Philip Lacasse is calmly interviewing potential caregivers when surly Dell Scott wanders into his penthouse by mistake, thinking he’s applying for a janitorial position.

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STAN & OLLIE – Review by Susan Granger

After fame and fortune left the world-famous vaudeville comedy team of Stan Laurel and Oliver Hardy far behind, they embarked on a career-concluding tour of Great Britain. Disgruntled but not discouraged, they turn to public relations stunts to sell tickets. In addition to Hardy’s persistent health problems, they’re constantly bickering, dredging up old grievances.

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WELCOME TO MARWEN – Review by Susan Granger

In recent years, visionary filmmaker Robert Zemeckis has become obsessed with experimental technology, particularly motion-capture animation. Now he turns his attention to the fantasyland created by an eccentric artist. Clumsily scripted by Zemeckis and Caroline Thompson, the film depicts Mark’s perverted perception of the world, superficially skimming over how he arrived at his point of view.

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THE SISTERS BROTHERS – Review by Susan Granger

Set in 1851 in the Northwest Territory between Oregon and California, French director Jacques Audiard’s first English-language film revives the sprawling Western for a new generation. Hot-tempered, hard-drinking Charlie (Joaquin Phoenix) and his shy, introspective older brother Eli (John C. Reilly) work as contract killers for a shadowy boss known as the Commodore (Rutger Hauer).

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THE BALLAD OF BUSTER SCRUGGS- Review by Susan Granger

If you threw a lasso at six 19th century Western mini-sketches and tied them together, like an old, clothbound anthology, they’d resemble Ethan and Joel Coen’s latest cinematic diversion. Superbly photographed in Colorado, New Mexico and Nebraska by Bruno Delbonnel, Carter Burwell’s beautiful score ties everything together.

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