Oscar Isaac

The Force Awakens is an action film. It feels like Star Wars but it isn’t Star Wars.

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For months now, people online and off have been speculating, hoping, disavowing their interest in Star Wars: The Force Awakens. So with so much non-film related stuff swirling around J.J. Abrams latest installment of the Star Wars serial, how is one to offer any insightful critique of The Force Awakens?

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As a spectacle, as pure entertainment, The Force Awakens delivers. Its pace is near break-neck, but it rarely feels rushed. The climax manages to feel bigger-than-life and starkly intimate at the same time. And people will be talking about the movie’s big plot points for months.

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Ex Machina does what excellent science fiction always does. It uses the tenets of the genre to pose difficult questions about our human existence.

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J.C. Chandor’s latest feature film, A Most Violent Year, is being hailed by some as The Godfather for our time. This comparison may ring true, but A Most Violent Year lacks the emotional impact of Coppola’s masterpiece.

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The Two Faces of January brings three solid performances together to help a decent script turn into an hour and a half of quite entertaining film.

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The new film In Secret has a lot of things going for it, a great cast that features Elizabeth Olsen and Oscar Isaac, excellent art direction, and a script adapted from an Émile Zola novel. Yet for all of its apparent strengths, In Secret falls a bit flat.

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Joel and Ethan Coen return with their latest film Inside Llewyn Davis, which follows Llewyn Davis (Oscar Isaac), a brilliant folk musician, but miserable human who is struggling to live off of his music in New York in 1961.

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