Watch The Big Sick Online Metacritic

The Beguiled' and 'The Big Sick' Reviews: Yankee Soldiers and Coma Girlfriends (But No Alien Robots) If you're in the market to watch massive robots level cities and various other historical monuments in the ongoing battle to save humanity, then oh boy, do I have a movie to recommend for you! But if you are looking for an antidote to summer tentpoles about aliens and monsters - - perhaps something more sinister, something with more heart, or if you just want to see a movie where women actually actually speak to one another - - might I suggest The Beguiled or The Big Sick (both out in L. A. and NYC on June 2. Photo: Focus Features. Watch Palo Alto Dailymotion. The Beguiled is a remake of the 1.

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Clint Eastwood as an injured Yankee soldier taken in by an all- girls academy in the Antebellum South. The 2. 01. 7 iteration tells the story from a woman's perspective (that of director Sofia Coppola), which means the beguiling women within are given their agency and point of view and the movie doesn't begin with Eastwood telling a 1.

But in updating The Beguiled for the summer movie season, Coppola seemingly felt no need to inject it with additional action or melodrama. In many regards, her version stays faithful to the original: In Virginia in the year 1. Corporal John Mc. Burney (Colin Farrell) is taken in by Miss Farnsworth's Seminary for Young Ladies. There, reluctant care of John - - it's "the Christian thing to do" - - escalates to stolen kisses and erotic sponge baths from the Farnsworth women: Nicole Kidman as Martha Farnsworth, Kirsten Dunst as schoolteacher Edwina, and Elle Fanning as one of the students remaining at the school. Much of this chamber piece revolves around blonde white girls being bored on a beautiful estate, but there's a certain titillating fun in watching the women shuffle around the home in their big skirts and bodices, throwing Civil War- era shade at one another with poise and restraint. And while swaths of the film feel largely eventless - - which I don't actually mean in a bad way, just as a matter of fact - - it is stunning to look at, with Coppola relishing in all of the beauty she can eek out of any single frame, and the acting is great, with Kidman's arch performance continuing a banner year in an all- around banner career.

Then the lull of gauzy pastel aesthetics and murmured French breaks as The Beguiled undergoes a jarring tonal shift into a tense, twisted climax and I found myself screaming when Kidman purred, "Edwina, bring me the anatomy book.". Photo: Amazon Studios.

The Big Sick is similarly historical, only in the sense that it's an autobiographical account of Kumail Nanjiani and Emily V. Gordon's actual love story. Nanjiani and Gordon, partners in both marriage and comedy, wrote the script, with Michael Showalter (Hello, My Name is Doris) directing and Judd Apatow producing.

Nanjiani stars as Kumail Nanjiani and Zoe Kazan plays Emily Gardner. With an Apatovian sense of rambling, everyday dramedy is heavier in the earlier portions of the movie, movie Kumail is an up- and- coming standup who spends his nights in comedy clubs with his comedy friends (including Bo Burnham and a delightful Aidy Bryant) and his days trying to avoid his parents' attempts at setting him up with a Pakinstani bride of their choosing.

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Then he meets Emily, a psychology student, and as much as they both assert that their rom- com- in- the- making is really just a one night stand, it soon becomes much more. And then Emily is placed in a medically induced coma. The Big Sick sounds too crazy to be true - - and so it absolutely is - - which makes it all the more intriguing watching the movie and knowing one half of the real couple is onscreen. Nanjiani and Kazan have a natural chemistry though, and Kazan is all- around wonderful, especially in one scene where she tries to escape Kumail's apartment in the middle of the night because, as she eventually screams, she "has to sh*t!"). The whole movie is nothing short of casually brilliant, packed with instantly relatable moments - - all of the awful one man shows and standup sets you're forced to sit through as the friend of a comedian, the awkward late night Uber exchanges - - and a relaxed exploration of the religiously devout and those that abstain.

Emily's coma - - which comes with the introduction of her parents, played by Holly Hunter and Ray Romano - - is a hard left mid- movie that could have easily dredged it into depressing, weepie territory, but instead ultimately takes The Big Sick in a realer, funnier and more heartwarming direction.

WATCH OSCARS 9. 0th ACADEMY AWARDS 2. Get live stream online hd free news update the 2. Oscar, including nominations, winners, predictions and red carpet fashion on Sunday Feb 2. PM ETWith Sundance and Cannes behind us and a ton of high profile movies ahead, Anne Thompson takes a look at this year’s Oscar contenders. It’s early days yet, we know. But awards season 2.

Sundance, and came into further focus at Cannes. Check out our early speculation, based on festival play, credible filmmakers, promising ensembles and Oscar- savvy distributors, of what might be in store when the next award season rolls around in the fall of 2. Oscar Predictions: Best Picture.

Oscar Predictions: Best Director. Oscar Predictions: Best Actor.

Oscar Predictions: Best Actress. Oscar Predictions: Best Supporting Actress. Oscar Predictions: Best Supporting Actor. Oscar Predictions: Best Animated Feature.

Oscar Predictions: Best Documentary Feature. Oscar Predictions: Best Original Screenplay. Oscar Predictions: Best Adapted Screenplay. Oscar Predictions: Best Foreign- Language Film. Sundance 2. 01. 7 introduced the first potential feature contenders: Michael Showalter’s big Amazon Studios sale, “The Big Sick,” a true romance starring writer- actor Kumail Nanjiani, as well as Geremy Jasper’s New Jersey rap musical “Patti Cake$” (Fox Searchlight), starring breakout Australian actress Danielle Macdonald and returning veteran Cathy Moriarty (“Raging Bull”), which also played Cannes, and Sony Pictures Classics’ elegiac gay romance “Call Me By Your Name,” directed by Luca Guadagnino and starring Armie Hammer and “Homeland” breakout Timothée Chalamet as summer lovers, and stalwart Michael Stuhlbarg as the teenager’s father. We shall see how Netflix will campaign for the $1.

Dee Rees’ post- World War II southern drama “Mudbound” starring Jason Clarke, Carey Mulligan, Garrett Hudland, Jason Mitchell and an unrecognizable Mary J. Blige. Adapted by Rees and Virgil Williams from Hillary Jordan’s 2.

Rees and cinematographer Rachel Morrison executed sweeping, gorgeous cinema with disciplined precision. The burgeoning streaming service plans a day- and- date release in a limited number of theaters to qualify for the Oscars.

Performers grabbing notice at Sundance included Melissa Leo, who steals Maggie Betts’ good- nuns- gone- bad movie “Novitiate” (Sony Pictures Classics); and following last year’s Sundance sleeper “I’ll See You in My Dreams,” Sam Elliott returned in another Brett Haley film, “The Hero” (The Orchard), delivering a moving lead performance as a 7. Get out your handkerchiefs.

Among the documentaries, Matthew Heineman followed his Oscar- nominated border drug war thriller “Cartel Land” with another daring and timely non- fiction, Amazon’s “City of Ghosts.” Any footage from Syria came from the fearless Raqqa journalists he tracks through Turkey and Germany, where they discover that they are not necessarily safe — anywhere. Netflix’s “Icarus” comes from marathon biker Bryan Fogel, who stumbled upon a riveting global scoop: the Russian Olympic doping scandal. Also acquired by Netflix is U.

S. Documentary- winner “Chasing Coral,” a heartrending, eye- popping follow- up to Jeff Orlowski’s “Chasing Ice,” similarly documenting the technological feats required to go underwater to film the process of vivid live coral reefs succumbing to warm- water temperatures, as well as Kitty Green’s beauty contest expose “Casting Jon. Benet.”Well- reviewed Julian Assange expose “Risk” (Neon/Showtime), Laura Poitras’s follow- up to Oscar- winner “Citizenfour,” should also factor in the documentary race. Early 2. 01. 7 releases include Jordan Peele’s brainy Hitchcockian thriller “Get Out,” among the best- reviewed of the year; Universal is pushing it hard, hoping that its genre elements won’t prevent it from scoring anything beyond a well- deserved nod for screenplay.

James Mangold delivers an R- rated Marvel family smash with “Logan,” a stylish reinvention of the superhero genre made possible by Hugh Jackman and Patrick Stewart, who were willing to close out their roles as Wolverine and Charles Xavier, respectively. Cannes 2. 01. 7 delivered a handful of contenders. Civil War melodrama “The Beguiled” (June 2. Focus Features) scored a Best Director win for Cannes regular Sofia Coppola, only the second woman to take home the prize. Her star Nicole Kidman won a special award for four varying performances at the festival; she’s most likely to land her fifth nomination for “The Beguiled” as the resilient Southern girls school headmistress; also strong are lead actor Colin Farrell as a manipulative wounded Irish Union soldier, and supporting actress Kirsten Dunst as the gullible teacher he woos. The period film is elegantly crafted. Assuming all goes well, writer- director Coppola, Kidman and Dunst could eventually land nominations; technical nods are most likely, for cinematographer Philippe Le Sourd and more possible down the line.

Todd Haynes follows up “Carol” with “Wonderstruck” (November 1. Amazon/Roadside Attractions), an ambitious weaving of the two story threads in rookie screenwriter Brian Selznick’s adaptation of his own graphic novel which wowed Cannes critics and audiences (though not the jury) with its cinematic prowess.

It was a daunting task, wedding a black- and- white 1. Millicent Simmonds and Haynes regular Julianne Moore with a 1. Haynes’ cinematic skills are perfectly suited to this story about lonely children in peril, seeking answers as they wind their way to the Museum of Natural History in New York.

The Academy crafts will hum over rock- star costume designer Sandy Powell, cinematographer Ed Lachman’s evocation of two distinct time periods, Mark Friedberg’s detailed production design, and Carter Burwell’s sensitive score, which carries the movie along with its intricate sound design, and makes it sing. Again, Amazon and Roadside Attractions, which collaborated effectively on “Manchester By the Sea,” will need to find an audience for the film as well as critical support — after Cannes, “Wonderstruck” sits at 7. Metacritic, but may do better stateside. Also from Amazon is Lynne Ramsay’s hardboiled hitman drama “You Were Never Really Here,” starring a beefy Joaquin Phoenix as a suicidal hitman experiencing an existential crisis. This exercise in style will have a tough time getting past the Academy’s resistance to small- scale indie violence.

Goodfellas,” “Mean Streets” and “The Departed” rode a surge of critical success to overcome their gangster genre origins. Thrice- nominated Phoenix and Best Actor Cannes winner could score a fourth Oscar slot as a sad sack freelance killer. Following their Oscar win with “Moonlight,” A2. Cannes hit “The Florida Project,” writer- director Sean Baker’s follow- up to “Tangerine,” using the model of “Beasts of the Southern Wild,” which debuted in Sundance and went on to ride strong Cannes buzz and the fall festival circuit to four nominations, including Best Picture, Writer, Director, and Actress Quvenzhane Wallis. She’s a precursor to “Florida Project”‘s 6- year- old diminutive breakout Brooklynn Prince. Baker’s slice of life along Orlando’s budget motels also relies on twice- nominated Willem Dafoe (“Platoon,” “Shadow of the Vampire”), who is long overdue for award recognition. His humane and paternal motel owner is the glue that holds together this poverty- row drama.

A2. 4 also recently acquired writer- director Greta Gerwig’s semi- autobiographical directing feature debut “Lady Bird,” starring Saoirse Ronan as a rebellious California high school achiever eager to escape to an Eastern college and Laurie Metcalfe as her mother. Netflix’s Noah Baumbach Competition entry “The Meyerowitz Stories” looks great on the big screen.