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Amir Abou-Jaoude
Let’s start at the very beginning
Amir Abou-Jaoude
•
Aug. 2, 2018
Theodore Roosevelt returns in Clay Jenkinson’s impersonation performance
Amir Abou-Jaoude
•
May 30, 2018
Director Michel Hazanavicius on ‘Godard Mon Amour,’ politics in cinema and distinguishing between art and artist
Amir Abou-Jaoude
•
May 16, 2018
‘Godard Mon Amour’ is a loving tribute to an irreverent genius
Amir Abou-Jaoude
•
May 15, 2018
‘RBG’ fails to do justice to its subject
Amir Abou-Jaoude
•
May 15, 2018
Desplechin’s ‘Ismael’s Ghosts’ succumbs to melodramatic clichés
Amir Abou-Jaoude
•
May 7, 2018
Cédric Klapisch’s ‘Back to Burgundy’ is a nebulous mess
Amir Abou-Jaoude
•
April 5, 2018
Past Oscar Best Picture winners worth a rewatch
Amir Abou-Jaoude
•
March 5, 2018
DeMille’s ‘Cleopatra’ is a riveting exercise in camp
Amir Abou-Jaoude
•
Feb. 21, 2018
Welles’ ‘Othello’ is a beautiful, painful tragedy
Amir Abou-Jaoude
•
Jan. 26, 2018
George Cukor’s 1940 film ‘The Philadelphia Story’ delights audiences, even today
Amir Abou-Jaoude
•
Jan. 19, 2018
Christopher Plummer shines in Ridley Scott’s ‘All the Money in the World’
Amir Abou-Jaoude
•
Jan. 18, 2018
The 1939 ‘Rebecca’ is the perfect Hitchcock crash course
Amir Abou-Jaoude
•
Nov. 30, 2017
‘The Divine Order’ a faint, unremarkable shadow of Ibsen’s ‘A Doll’s House’
Amir Abou-Jaoude
•
Nov. 29, 2017
Love is a tasteless, trite thing in ‘God’s Own Country’
Amir Abou-Jaoude
•
Nov. 8, 2017
‘Jane’ provides a scintillating vision into Goodall’s legacy
Amir Abou-Jaoude
•
Nov. 5, 2017
‘They Live By Night’ uncovers a soft side to a classic criminal couple
Amir Abou-Jaoude
•
Oct. 17, 2017
‘Wakefield’ could be more woke
Amir Abou-Jaoude
•
June 1, 2017
‘Chuck’ wishes it were ‘Rocky’
Amir Abou-Jaoude
•
May 23, 2017
‘Obit’ documentary is dead on arrival
Amir Abou-Jaoude
•
May 11, 2017
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