TENET – Review by Susan Granger

Even the best filmmakers make colossal blunders, and this comes from Christopher Nolan (Inception, Memento, The Dark Knight trilogy). A $200+ million mistake on top of a miscalculation. In the midst of the pandemic, Nolan insisted that his sprawling, unfathomable sci-fi action-adventure be released in multiplexes despite the fact that people are more susceptible to the coronavirus when congregating indoors.

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TENET – Review by Leslie Combemale

Fans of writer/director Christopher Nolan are not strangers to bent time, trippy constructs in physics, or highbrow filmmaking. Unfortunately, all that wizardry can’t make up for the lack of character development and mental gymnastics required to buy into and stick with the story of Tenet.

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THE BURNT ORANGE HERESY – Review by Leslie Combemale

There’s something perverse in seeing great actors doing great work in a film that has an extremely problematic script and plot. In the new release The Burnt Orange Heresy, directed by Giuseppe Capotondi and written by Scott B. Smith from the Charles Willeford novel, a collection of endlessly enigmatic actors that includes Claes Bang, Elizabeth Debicki, Donald Sutherland, and Mick Jagger breathe temporary life into, but can’t resuscitate this pretentious neo-noir script.

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MOVIE OF THE WEEK August 30, 2019: VITA & VIRGINIA

The real-life romance between writers Virginia Woolf and Vita Sackville-West takes center stage in Chanya Button’s provocative period drama Vita & Virginia. Exploring sexuality and passion, desire and connection, the film features strong performances by Gemma Arterton and Elizabeth Debicki, and a script by Eileen Atkins that effectively incorporates the two literary legends’ own words.

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VITA & VIRGINIA – Review by Sheila Roberts

Vita & Virginia, Chanya Button’s moving biopic about the clandestine love affair between two fiercely independent, modernist 20th-century authors, the legendary Virginia Woolf (Elizabeth Debicki) and the lesser known novelist-poet Vita Sackville-West (Gemma Arterton), is firmly rooted in their writings and literary ambitions.

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VITA & VIRGINIA – Review by Leslie Combemale

There is much to love about Vita & Virginia, the new release directed by Chanya Button, and co-written by Button and actress Eileen Atkins. Atkins adapted the story from her successful stage play, in which she starred as famed writer Virginia Woolf opposite Vanessa Redgrave, who portrayed her lover, socialite and intellectual Vita Sackville-West.

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VITA & VIRGINIA – Review by Loren King

Vita and Virginia and, especially, Gemma Arterton’s role of Vita Sackville-West, has the daunting task of naturally drawing comparisons with the brilliant 1990 BBC miniseries Portrait of a Marriage with Janet McTeer’s masterful embodiment of Sackville-West during her passionate romance with Violette Keppel (Cathryn Harrison). In the new film, Sackville-West has moved on from Violette and becomes enamored of fellow writer Virginia Woolf (Elizabeth Debicki).

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VITA & VIRGINIA – Review by MaryAnn Johanson

A movie about the legendary literary lesbian romance that directly inspired the creation of one of the great works of fiction, starring the absolutely incendiary duo of Gemma Arterton and Elizabeth Debicki? It’s criminal that Vita & Virginia is this dull. This blah. This, somehow, stodgy. There’s no passion to be found here: not sexual, not intellectual. How does this happen?

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