Ella Taylor

Ella Taylor is a freelance film critic, book reviewer and feature writer living in Los Angeles.

Born in Israel and raised in London, Taylor taught media studies at the University of Washington in Seattle; her book Prime Time Families: Television Culture in Post-War America was published by the University of California Press.

Taylor has written for Village Voice Media, the LA Weekly, The New York Times, Elle magazine and other publications, and was a regular contributor to KPCC-Los Angeles' weekly film-review show FilmWeek.

In the insufferably arch neo-noir Western Mojave, Garrett Hedlund — a vision in sexy boots, artfully disheveled tresses and a morose green gaze — ventures into the desert, there to brood on his depraved, deprived life as a Hollywood director of note. Having crashed his car, Thomas lights a fire, but further brooding is interrupted by the arrival of a stranger named Jack. We know Jack does not mean well because he is unwashed, hirsute, sorely in need of cosmetic dentistry and played in overdrive by Oscar Isaac.

If nothing else The Benefactor, an absorbing if uneven psychological drama from writer-director Andrew Renzi, provides Richard Gere with a liberating opportunity to come on like Al Pacino. As Franny, a wealthy Philadelphia philanthropist without boundaries who gets his way through hysterical giving, Gere throws himself around with overbearing flamboyance, clearly relishing the chance to inhabit a man who's always on but understands nothing.

In 2011, the British director Andrew Haigh made Weekend, an achingly wistful chamber piece about a lifetime of unfulfilled longing poured into a brief encounter between two very different gay men. Weekend comes highly recommended, as does Haigh's new film, 45 Years, which also spans a few days, here slogged through by an aging couple forced by startling news to reassess their long marriage. Neither film has a plot in the received sense, nor does either lead us to a foregone conclusion.

The lively little fellow we meet in the Brazilian film Boy and the World has a circle for a head topped with three goofy hairs, two vertical slits for eyes, a striped tee-shirt and black shorts. That's it, but he contains multitudes, and this lovely animated poem to migrant labor will show you them all. Together with his loving parents, who are drawn with equal economy, Boy lives poor but happy in a rural idyll depicted in slashes of brilliant color, much like the free drawing of a child. The wind rustles; cobalt butterflies hover; he plants a seed; he's happy.

In the early 1970s, an elderly homeless woman who called herself Miss Shepherd parked her decrepit van in the London driveway of British playwright Alan Bennett. Bennett had invited her, ambivalently and with every expectation she'd leave before long. She stayed for 15 years, and The Lady in the Van, Bennett's hilarious, self-lacerating, and wistful account of her sojourn among the trendy liberals of Camden Town, became first an article and then a stage play starring — who else? — Maggie Smith.

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