WHAT SHE SAID: THE ART OF PAULINE KAEL – Review by Susan Wloszczyna

There are snippets of Kael’s own voice in archival footage although first-time director Rob Garver fills in the blanks by employing actress Sarah Jessica Parker to read sections of her writing while the critic’s daughter Gina James and other associates provide commentary. Kael, who had a way of picking just the right searing or celebratory word, rattled the intellectual crowd while pooh-poohing the backers of critic Andrew Sarris’s auteur theory.

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WHAT SHE SAID: THE ART OF PAULINE KAEL – Review by MaryAnn Johanson

I don’t know whether to be heartened or depressed by What She Said, a terrific documentary about the life and work of legendary film critic Pauline Kael. We hear how challenging it was to make a living as a critic, the abuse she took from readers, and just the general awfulness of men, in her personal life as well as professionally.

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MOVIE OF THE WEEK November 9, 2018: HERE AND NOW

motw logo 1-35Introspective and contemplative, Fabien Constant’s drama Here and Now follows talented singer Vivienne (Sarah Jessica Parker) through roughly 24 hours after she’s diagnosed with a serious form of brain cancer and learns she may have no more than 14 months left to live. With everything from her upcoming tour to her time with her teenage daughter now up in the air, Vivienne struggles to come to terms with this unexpected twist of fate.

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HERE AND NOW – Review by Loren King

How would a day unfold when it starts with a doctor delivering a grim diagnosis? That’s the premise of Here and Now, a modest but affecting drama written by playwright and House of Cards scribe Laura Eason. It’s an intimate character study that rests on the lead performance from Sarah Jessica Parker.

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HERE AND NOW – Review by Nikki Baughan

Writer Laura Eason’s screenplay effectively mines the anonymity and isolation of modern life, where people connect more easily through technology than face-to-face; we often see Vivienne surrounded by people but utterly, desperately alone. And if Fabien Constant’s direction sometimes over-eggs the pudding, the emotional truth of the story, and Parker’s nuanced, sympathetic performance, prevent it from straying too far into melodrama.

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