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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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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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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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."
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The writer/director of 2013's crowd-pleasing romance The Lunchbox returns with another heartwarming tale of unlikely love among the crowded streets of Mumbai.
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This trifle — about a bunch of plucky seniors (led by Diane Keaton) who form a cheerleading squad — is a "fitful good time," despite infantilizing both its characters and its audience.
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Writer-director Olivier Assayas' latest film, set in Paris' literary world, is a "mostly delightful, occasionally exhaustingly word-drunk comedy of manners larded with giddy farce."
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Two sisters (Lily James, Tessa Thompson) struggle to navigate the opioid crisis in their small town. Nia DaCosta's first film is a "quietly feminist thriller" that's "modest but intensely empathetic."