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.
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A plant scientist (Emily Beechum) breeds a flower that makes people happy in this "effectively creepy indie" that gets its tendrils in you.
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Michael Apted's latest installment of his extended documentary/social experiment — revisiting a brace of British children every seven years — finds them ruminating on life, death and Brexit.
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Marielle Heller's new film isn't Fred Rogers' story — it's the story of two damaged outsiders (Tom Hanks and Matthew Rhys) finding a connection that overcomes the darkness in their childhoods.
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Matt Damon and Christian Bale star in the story of Ford's attempt to create a car that will best Ferrari at Le Mans in this "rollicking" "wildly entertaining" film.
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Flat characters spout banal observations about life against a lush backdrop in Ira Sachs's film, which wastes the considerable talents of its all-star cast.
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Pedro Almodóvar's wonderful, mature drama sees an aging director (Antonio Banderas) ruminating on his mortality while attempting to rouse himself into making another film.
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Matt Tyrnaeur's documentary posits that Cohn, a notoriously ruthless and amoral political operative, set the ground rules by which today's politics play out.
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Two sisters (co-writers Hannah Pearl Utt and Jen Tullock) learn that their dead mother (Judith Light) is alive — and starring in a soap opera — in this "wise, witty and richly specific" film.
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Conspiracy theories abound in this literally incredible documentary, in which an eccentric Danish journalist sets out to prove that Dag Hammarskjöld's 1961 plane crash was no accident.
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In A.J. Eaton's documentary, Crosby proves a "passionate, wry, often bellicose" storyteller who "often seems to be writing his own self-lacerating obituary."