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French Exit, review: Paris with Michelle Pfeiffer suddenly feels like a prison sentence
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French Exit
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French Exit
With the adjective “French” in the title French Exit, much more can be expected than someone just leaving a country. With existential echoes and philosophical attitude the French can have over a croissant, an audience can see where writer Patrick DeWitt and director Azazel Jacobs are going in this low-key drawing-room comedy.
The glamorous Michell Pfeiffer plays sixty-year-old former Manhattan socialite Frances, who encourages thoughts that go from the losses aging brings to the mortality ultimately reserved for all. She has lost her wealthy businessman husband, Franklin (voice of Tracy Letts), who returns with the help of randy seer Madeleine the Medium (Danielle Macdonald) in the form of a black cat (yes, the occult element is one of the lighter elements of a film, described as a comedy but really a darkly and quietly humorous melodrama). Call it a farce because it’s French, but don’t expect to laugh much.
GODZILLA VS. KONG
(in theaters and on HBO Max)
These monsters aka the alpha Titans somehow remain immortal, even after being attacked by every weapon mankind has to bear during many decades in moviedom. Nonetheless, they are back.
In filmmaker Adam Wingardâs sequel to âGodzilla: King of the Monstersâ (2019), Kong resides in an artificially created jungle, âthe Kong Containment Domeâ on Skull Island where he is watched over by Dr. Ilene Andrews (Rebecca Hall) and her deaf adopted daughter Jia (Kaylee Hottle), who can communicate with Kong.
While Kong gets affection, olâ spikey Godzilla lacks a winning personality and just shows up to create mayhem.
We re not all bad, French Exit says of listless socialites
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