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.

Tony Robbins is huge. Really: the life coach/motivational speaker/practical psychologist/whatever-you-want-to-call-him stands 6'7" in his socks. He's built an empire to match — one that includes an apparently vast global following and a raft of best-selling books on how to do almost anything. His packed seminars sell for $5,000 a pop to those with problems common enough, sensational enough, or devastating enough to merit a life-makeover from Robbins and his team.

On the surface Our Little Sister, a new film from Japanese director Hirokazu Kore-eda, feels like nothing much is going on. Three grown sisters travel from their pretty seaside town in rural Japan to attend the funeral of their father, who had abandoned them to marry another woman. The young women end up taking their half-sister, Suzu Asano (the enchanting Suzu Hirose), who's just entering her teens, back to live with them in the family home they've shared for years.

Our Kind of Traitor is the first thriller adapted from a John le Carre novel to be directed by a woman — not that you'd notice from the sang froid with which British filmmaker Susanna White serves up the gruesome carnage that opens the movie.

The great critic Robert Warshaw once pegged the gangster movie as "the no to the great American yes that is stamped so large over our official culture."

Spanish filmmaker Carlos Saura is best known on this side of the Atlantic for his 1980s flamenco trilogy Blood Wedding, Carmen and El Amor Brujo. The director has spent the latter part of his long career making dance films that balance engaged populism with a blithe disregard for the boundaries between real and surreal that he learned from his mentor, filmmaker Luis Bunuel.

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