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Joana: side divorce whisperer who wants couples’ love to re-grow.
To a cultish mega (& mini) church she and hubby Danilo go.
A devotion intense; grown from the molecular …
While wrestling bureaucracy (secular).
Visually stunning, some cheeky wit, but at times repetitive/slow.

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Fosse’s unique individual style: the slightest twist
Of a shoulder - or the delicate, sexy turn of a wrist.
Some great archival footage here.
He re-wrote the rules. A true pioneer.
Without him, so much modern dance wouldn’t exist.

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Josephine’s near the top of the con artist list.
When Penny muzzles in, she’s pissed.
They have no chemistry. It feels a dud
When jokes fall flat with a thud.
Talent wasted and opportunities missed.

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Skilled lawyer Lauren’s offered a career big spot.
Same day: boyfriend Ned proposes they tie the knot.
Oh no: Mum’s taken flight!
Tapsell's work: a delight
In this joyous film (with many a stunting nature shot).

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Portman is mesmerising. All strutting swagger (encasing fragility)
In the face of: traumatic memories; personal demons; press hostility.
Glitter armour against the pernicious.
Corbet’s vision: audaciously ambitious.
(Double) star turn from Cassidy showcases impressive versatility.

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Knockout central performance from Stenberg. Starr: a code-switcher,
Her compartmentalised life is a difficult-to-balance mixture
Of conflicting worlds. Navigating justified fury
(Police brutality, racism, an unfair jury …).
A gripping gut-punch. A timely, essential look at the ugly big picture.

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Breathtaking visuals from Schnabel & Delhomme. And Dafoe has presented
Us with achingly brilliant work (as fragile Vincent, often dismissed as demented)
That brings home the heartbreaking shame
That posthumous was the acclaim
And universal love for this talented, beautiful soul who was so tormented.

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The weakest elements here are via Hedges Snr (as director and scribe),
Roberts gives her all as a mother scared for the eldest of her offspring tribe.
The addiction situation is clearly fraught,
But the whole film’s too overwrought -
And has a general After School Special kind of vibe.

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In McKay’s look at this VP who had powers unchecked,
It seems there’s no trust that the audience will connect
The dots themselves.
So it’s all over-spelled.
Trying hard to be clever. Comes out smug. No real attempt to reflect.

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Magnificent film. Intriguing machinations of the palace.
Visually stunning, with wonderful characters (many callous).
Their plotting is viscous
And wickedly delicious.
An utterly mesmerising world of drama, scheming and malice.

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So the young candidate’s supporters and volunteers follow
Along for the race. Then Hart’s sprung. Cue to: him wallow
In self-righteous indignation.
Any filmic drama? No, stagnation.
… In this pedestrian offering with no grunt (just feels hollow).

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