SHOWING UP – Review by Susan Kamyab

It’s great seeing Michelle Williams’ versatility, and she continues to prove she can play any role. This particular role just isn’t very memorable. Director Kelly Reichardt’s intention was to show a “funny portrait of art and craft.” Sadly, there’s not much humor or plot to Showing Up. The art is there, and it’s quite unique. But, none of the movie’s minor redeeming qualities can make up for the underwhelming character’s or story’s lack of intrigue.

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THE FABELMANS – Review by Valerie Kalfrin

The creative life is a circus for an artist, with allures impossible to resist. Director Steven Spielberg’s semiautobiographical drama The Fabelmans shows his early fascination with movies; yet instead of making himself the focus—a portrait of the blockbuster pioneer as a young Steven, if you will—he crafts an intimate story that credits his parents as his inspiration.

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THE FABELMANS – Review by Diane Carson

The Fabelmans presents director Steven Spielberg’s family story. Spielberg, who needs no introduction, has co-written, produced, and directed his most personal movie to date, the autobiographical The Fabelmans. Beginning January 10, 1952, in New Jersey, progressing through 1964 high school graduation, and concluding a year thereafter, the story profiles this family, anchored in Sammy, i.e., Steven. Beginning with his first film, Sammy is captivated.

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WEEK IN WOMEN: 2020 Gracies for Williams, Nash, Watts and more – Brandy McDonnell reports

Winners of the the Alliance for Women in Media Foundation’s 45th annual Gracie Awards includes such esteemed honorees as Michelle Williams, Niecy Nash, Amy Poehler, Natasha Lyonne, Tamron Hall, Naomi Watts, Angela Yee, Norah O’Donnell, Stephanie Beatriz, and Soledad O’Brien, along with more than 100 of the most talented women in television, radio and digital media.

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AFTER THE WEDDING – Review by Diane Carson

With today’s omnipresent information, shadow lives can be discovered and made public, and some decisions merit reconsideration. There are astonishing inequities between rich and poor in the U.S. and India, or almost anywhere in the U.S. But there’s a delicacy needed to presenting ideas for consideration, less can be more. Here the inequity is cast aside as the plot device it is, and the degree of Theresa’s stridency as an abusive boss telegraphs the lack of complexity with added misogyny.

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MOVIE OF THE WEEK August 23, 2019: AFTER THE WEDDING

Boasting powerful star performances by Michelle Williams and Julianne Moore and a story with big, emotional twists, Bart Freundlich’s “After the Wedding” is a gender-swapped remake of Susanne Bier’s same-named 2006 Danish drama. It’s a thought-provoking look at life choices, legacy, and motherhood that will stick with you after the credits roll.

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AFTER THE WEDDING – Review by Erica Abeel

In remakes of foreign films American directors sometimes copy the source almost to the letter. Other times they update their own version to reflect current issues. In After the Wedding Bart Freundlich and his team make the worthy effort of tweaking the original to bring women to the forefront. But much of the original’s savor is lost in translation.

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AFTER THE WEDDING – Review by Elizabeth Whittemore

Secrets only lead to heartbreak. After The Wedding is a stunning gender-swap remake putting the focus on mothers. A spotlight is shown upon the choices a woman makes in both career and as a caretaker. This film has a beautiful commentary on generational relationships as well as the steps we take to maintain image and peace. The cast is truly phenomenal and the cinematography breathtaking. After The Wedding is a relatable story from every angle. The path of our lives cannot be controlled no matter how hard we try.

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AWFJ Movie of the Week, October 10 – October 14: CERTAIN WOMEN

Kelly Reichardt’s body of work has established her as a major American cineaste. Her latest film, Certain Women, maintains her masterful, yet quiet trajectory. Opening Oct. 14, AWFJ’s Movie of the Week is Certain Women, Read on…

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