DISCLOSURE DAY – Review by Susan Granger

With the release of his 35th movie, it’s obvious that Steven Spileberg is not just a good story-teller, he’s a GREAT story-teller. The suspenseful tale he spins this time is Disclosure Day about the U.S. government’s attempt to keep the truth about UFOs secret. Scripted by David Koepp from Steven Spielberg’s story, it revolves around a nefarious conspiracy, cloaked in sci-fi mystery, tracing back to E.T. and Close Encounters of a Third Kind. And it’s a timely topic since former President Obama said he believes aliens are real, prompting President Trump to accuse him of revealing “classified information.”

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DISCLOSURE DAY – Review by T.J. Callahan

Full “disclosure”, I didn’t understand exactly what was going on for the first half of the movie. Spielberg was so busy putting all his food for thought on the story board buffet, including an epic train scene that may have been added just to please the action fans, that it was difficult to navigate. Once the backstory was delivered in the second half, the classic Spielberg empathy came through and actually left the audience wanting more.

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DISCLOSURE DAY – Review by Leslie Combemale

This film fits well as a third cinematic statement from the director of Close Encounters and E.T., and offers eye-popping visuals and committed performances enough to make it well worthy of carrying the Steven Spielberg name. Though it’s a bit slow in getting started after an action-heavy first scene, the film has a decidedly 70s espionage on-the-run thriller sensibility. It builds suspense and action. There are very exciting set pieces. Also, even if you’re from Virginia where it’s the state bird, you’ll never look the same way at a cardinal.

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BRIDGET JONES: MAD ABOUT THE BOY – Review by Susan Granger

Bridget Jones: Mad About the Boy is the first film in the British romantic comedy franchise to skip a US theatrical release and go straight to streaming on Peacock. That’s probably a wise choice because Bridget Jones’ fans are older now and it’s fun to watch at home. Still a grieving widow, idiosyncratic Bridget (Renee Zellweger) desperately misses her beloved late husband, Mark Darcy, four years after he was killed on a humanitarian mission in Sudan. That pervading sorrow extends to their 10-year-old son and 6-year-old daughter. Although Bridget’s former lover/boss – now best friend – ever-flirtatious Daniel Cleaver (Hugh Grant) offers support, meaning that he’ll watch the kids so she can occasionally get out of her London home, her love life is nonexistent.

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EMPIRE OF LIGHT – Review by Susan Granger

Oscar-and-BAFTA nominated for Best Cinematography, Empire of Light is set in 1981 in Margate, a small seaside town in Britain, where middle-aged Hilary Small (Olivia Colman) is the forlorn second-in-command at the Empire Cinema, a fading movie palace. Accepting his 16th Academy Award nomination, cinematographer Roger Deakins explained, “I think this film is about companionship. Hilary has this world with her fellow workers, that sort of friendship beings something more into her life, an existence without a great horizon.”

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EMPIRE OF LIGHT – Review by Diane Carson

Empire of Light is a love letter to 1980s cinema. Writer/director Sam Mendes goes behind the scenes to reveal the lives of those who whisked viewers into another world while battling their own demons and society’s racism, sexual predation, and mental health struggles. Behind the glimmer and glamor of that magical theater and blinding projector’s light existed a real, troubled world from which imagination offered escape, the establishment of a surrogate, supportive family.

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EMPIRE OF LIGHT (TIFF 2022) – Review by Cate Marquis

Empire of Light takes place in a grand old movie theater that is now slowly fading away in early 1980s, with a loyal movie-loving staff still selling tickets and popcorn to dwindling audiences. You would expect such a movie to be a love letter to the movies, or at least old movie theaters, fondly recalling the glory days of actual film on reels and the magic of movies. Writer/director Sam Mendes’ nostalgic drama does start out that way, but then it drifts off into something else, a plot touching on mental illness and racial tensions in the 1980s, and involving a May-October romance.

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OPERATION MINCEMEAT – Review by Martha K Baker

Ian Fleming — yes, that Ian Fleming — narrates Operation Mincemeat: “In any story,” he writes, “there is that which is seen and that which is hidden.” Such is the case with Operation Mincemeat and the fascinating — and flawed — film based on the true event. The time is July 1943 during World War II. The place is England; the target is Sicily.

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MOTHERING SUNDAY – Review by Martha K Baker

What does a filmmaker do with a stunning novel that is more style than plot? If you’re the French director Eva Husson, you make a film that is your own style. She blessed Graham Swift’s brilliant and brief 2016 novel, Mothering Sunday, with her style, thus making the film as transcendent as the novel.

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MOVIE OF THE WEEK March 25, 2022: MOTHERING SUNDAY

Based on the same-named novel by Graham Swift, director Eva Husson’s lush, languid drama Mothering Sunday feels in some ways like the cinematic equivalent of reading another English writer’s work. Introspective, melancholy, and finely observed, it’s reminiscent of Virginia Woolf’s Mrs. Dalloway and To the Lighthouse in the way it hones its focus on a very specific set of events and the way those events affect the people at the center of them.

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