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This brilliantly feminist indie film plunges a cold, sharp knife into the back of period-piece dramas. Confusingly, it has nothing to do with Shakespeare: The tale concerns a teenager in Victorian England (Florence Pugh, like a young Kate Winslet) whose father has married her off to a rich miner’s son. But she has other plans in mind.
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Michael Bay’s previous film, the Benghazi-related (and critically underrated) 13 Hours, was basically an art film for him. The explosion-friendly director now returns to his signature franchise, perhaps with more politics in tow. Adding to the grandeur is Anthony Hopkins in a prominent role. Good parts are hard to find, apparently.
Playing suburban marrieds who find themselves too short of cash to send their hardworking daughter to college, Will Ferrell and Amy Poehler find ample opportunity to cut loose with khaki-clad fury. The solution to their problems? Hosting a secret Vegas-style gambling parlor where trusted neighbors can unleash their inner Joe Pescis. It’s not pretty.
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Following up her feature debut Obvious Child (and bringing along that film’s star, Jenny Slate), writer-director Gillian Robespierre attempts a more conventional domestic comedy, this time about a neurotic NYC family. Set in an overly showy 1995, the movie moans under the weight of its oppressive stream of cutesy nostalgia.
It’s another grungy Australian thriller, but if you recall this spring’s Hounds of Love (or 2005’s notorious Wolf Creek), you’ll know this is a subgenre that Oz’s directors somehow know how to do expertly. In this case, a likable family heads into the wilderness for a camping trip. Doesn’t that already sound like an extremely bad idea?