Laura (Laura Dern) is a lawyer in smalltown America. She has a client who got a raw deal from his work after an injury. But since he took their initial offer of compensation, there’s not much she can do. Of course, for months he’s refused to believe her, and only hearing the same words from a man seems to do the trick. That is, until she gets a call in the middle of the night that he’s taken someone hostage and thanks to an ineffectual crime response in Montana, it falls to her to defuse the situation.
Gina (Michelle Williams) and her husband are trying to build their dream home. A
conversation with an elderly gentleman who may or may not have some soapstone to sell exposes some cracks in the foundation of her marriage. Are they even on the same page?
Fresh out of law school, Elizabeth couldn’t bed certain she’d land a good job so she started taking anything she could get. That’s why, despite landing a position with a law firm, she’s also driving 4 hours each way twice a week to teach an adult education class where the students don’t seem to quite appreciate what they’re doing there. Her only real connection is with an unenrolled student, a ranch hand (Lily Gladstone) who’s just wandered in off the street, curious. Curious about people, not the subject. The rancher and the teacher will converse over greasy spoon fries after class.
These three stories only intersect in the vaguest, merest of ways. Certain Women is more about the female experience in this tiny town, and what it’s like to be breaking new ground, literally and figuratively. Director Kelly Reichardt gives us these stories like she’d give a gift. She has uncommon skill at finding compassion and nuance in the smallest of everyday stories. We feel like we know her characters. There aren’t a lot of big, bold happenings, but the attempts at connection, and in fact, the missed opportunities left me bereft. Certain Women tugs so subtly at your heart. It’s full of tiny moments that you can hoard and love in whatever capacity you feel best.

believe from the outside all the difficulties they face. But Mo and Lui are good at communicating a marriage strained by years of putting someone else’s needs above their own, of never having the time to honour their coupledom. We know that this is not Mr. Wong’s first dalliance, and we see the toll it’s taken on their marriage.
The cast is endearing, and I love how director Eric Khoo blends together race as if it’s fusion cooking. The Japanese and Chinese people have had an uneasy past and you can see that Masato has a hard time reconciling the two parts of himself. However, grief is a powerful motivator, and when he understands how his father honoured his mother’s memory by incorporating her culture into his cooking, Masato is inspired to do the same.
emotionally, her physical transformation is NOT normal teenage stuff. She’s suddenly compelled to eat the family’s pet goldfish. She grows webbing between her toes. In her mind, these are linked to the onset of her period but her doctor disagrees. Moodier than ever, Mia is also learning to be more secretive.
prism of his disability, they’re not exactly dimmed, but the context is clearly costly. Too costly, some, in fact most, would say. But as Ronnie pulls up to the supplement store, he parks in the handicap accessibility parking – and even then he barely makes it in. But what is he even doing there? Well, despite the fact that he’s popping the max dosage in pain pills, Ronnie is still drinking his protein shakes because Ronnie is still training. It’s killing him, but he can’t stop.
though Millie’s family certainly will be. In Kings, we see the trial on the tiny, fuzzy TV sets in every living room. People are living and breathing it. Millie is deeply moved by the updates on the news, and Halle Berry’s excellent work reaches out to touch us in the audience. Millie is raising multiple black boys in a neighourhood patrolled by white cops looking for any excuse (or no excuse) to take out their disgust with the trial on anyone whose skin fits the profile. For her, it’s real, and the consequences are terrifying. Halle Berry hasn’t had roles really worthy of her lately, but this is a good one to sink into.
a baby, was always attracted to my baubles. He’d pull on them and gum them as a tot but when he was old enough, he’d steal them and be a very well-accessorized toddler. Another nephew insisted on having his finger nails painted whenever his mother did hers. One little guy had a dolly that he loved to play with. Once, when we brought him to Build-A-Bear, he insisted on our purchasing him a pink stroller for his bear. We obliged of course, and presto, change-o: instant mall hazard, a 3 year old on a complete tear, careening his plastic stroller possibly right into your shins. Does any of this mean anything? Other than that kids aren’t born knowing about gender stereotypes. Most kids will do whatever’s fun, grab whatever’s sparkly, unless of course they’re shamed.
three dads (Colin Firth, Pierce Brosnan, Stellan Skarsgard), Mom’s best friends (Christine Baranski, Julie Walters) – even Grandma (Cher)! But because one party full of old people is pretty lame (could someone tell Sophie that?), the movie is 80% flashback. Meryl Streep’s character is now played by the lush and nubile Lily James, and we get to watch her have all the unprotected, close together sex with three different men (at least!) alluded to in the first movie, which resulted in all the daddy confusion.
what went wrong. So he does that thing where he circles the date on the calendar and his heart is filled with revenge lust and he has a beard so you know he’s morose and broody. His mentor (Andy Garcia) is more concerned for his love life and maybe his personal safety, and both of those might be threatened by a mysterious government agent (Sofia Vergara).