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 young man attempts to reclaim a grand home in San Francisco's gentrified Fillmore district in this "wistful fairy tale built from real-life materials."
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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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A beautiful, headstrong young woman (Juli Jakab) interrogates her past even as Budapest prepares to crumble; director Laszlo Nemes depicts "the soil in which fascism takes root" with cool dispassion.
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An aging Bard of Avon (Kenneth Branagh) returns to his hometown to reconnect to the family he barely knows in this touching film about the disconnect between life and art.
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Director Josie Rourke's epic, fiercely feminist period piece "does make a powerfully moving case for an uneasy dance between two powerful women hamstrung by male politics."
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Kevin MacDonald's doc about the life and death of Whitney Houston contains no shattering revelations, but it artfully and compassionately places her extraordinary talent in a meaningful context.
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While Race is, for a while, a conventional athlete biopic, once the story begins to balance the many forces that pulled on Owens and complicated his story, it gets more interesting.
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A new film follows a homeless man working constantly to survive on the streets of New York City and traces his challenge to hold on to his identity.
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The directorial debut of Chris Evans is a simple banter-based romantic story about a couple bumping into each other in Grand Central Station.
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Brazilian filmmaker Anna Muylaert's comedy suggests that to look at a society's political health, you look at the way the help is treated — like the housekeeper at the story's center.