antoniotierno

We all know that Frank Grillo could hold his own in an onscreen scrap or shootout, and he's got a lifetime of training to cash the checks his mouth is more than capable of running, but he's also been developing a series of strong and dramatic performances within his established wheelhouse. He was the best thing by far about recent biopic Lamborghini: The Man Behind the Legend, and showed an untapped vein of deadpan comic timing in Joe Carnahan's Boss Level, but Little Dixie gives him the opportunity to drop bodies and pathos in a pretty equal measure. Action is good but the plot leaves a bit to be desired.

A courtroom drama which unfolds a lot, eoth a good (though not stellarl cast and showing a dilemma recalling other movies of a different genre, sucg as Otto Preminger's Whirlpool and Where the Sidewalk Ends, post-WWII films about personal probity but without a melodramatic tone. Cool-tempered Clint Eastwood teeters between melodrama and social criticism. He foregrounds and depicts Justin's spiritual crisis as a jury member, arguing with angry blacks and feminists and siding with a gung-ho ex-cop (J. K. Simmons), to reveal the current crisis: The law is in jeopardy. In the end the finale leaves with a big doubt, as whether the lead-actor is arrested. Overall a masterpiece.

Lee is a masterpiece, always working through her traumas. The beauty in Lee's character is that she did not wish to be known intimately and inside, but desperately sought to understand the world around her. Kate Winslet is not a revelation as Lee Miller, while she already got a fame as great actress but here she perfectly embodies the spirit and inner struggles of this woman, whom others couldn't understand as she refused to be pinpointed as one thing. Lee is an incredibly moving character study of a woman who was so deeply misunderstood. Kuras beautifully describes the humanity that Lee was able to see. A wonderful surprise.