Laura Dern

Laura Dern on We Don't Live Here Anymore and Career Highlights

We Don't Live Here Anymore frames with precision emotional moments in the lives of people who build their own prisons and, over time, plot escapes.

Thoughtful and energetic....Anderson has in Ryan's story a bittersweet exemplar for the unsung toil and love of prefeminist desperate housewives...

Thrives on bone-dry humor.

In his 36 years of filmmaking, David Lynch has never been more fearless or more fearsome...Inland Empire brims with surprising and scary images.

Works brilliantly as an allegory of American repression and willful illusion of order, Lumberton's forced-smile '50s sensibility unable to keep down the anarchic, raging id that is humanity's primal drive.

Tells the tale of an escaped convict and his eight-year-old hostage and, in the process, considers the cycles of disappointment wrought on sons by questionable fathers: abusive ones, absent ones, even a well-meaning 'daddy state.'

A satisfying excursion, a secular but spiritual journey of self-discovery.

Reichardt in no way pushes her material, instead giving the viewer the space to live in this space with the characters, observe them and listen to them, and then draw one’s own conclusions about thematic import.

Call it 'Big Mac-beth.'

[SPOILER-FREE REVIEW:] Johnson sticks with the Star Wars house style and seems pleased to have the opportunity to inspire children with this story of overcoming inner conflict to become one’s best self, the key ingredient being hope.

Aside from Gerwig's own comic and dramatic sensibilities (which never intrude on Alcott) and a stellar cast, her Little Women adopts a bold narrative approach to retelling Alcott’s two-volume story.

Despite its extremely messy story, if looked at as a '50s B-movie matinee, it's not too bad.