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.

"I thought you wanted to loosen up," Charlotte (Judith Godrèche) asks Alex (Adam Scott) close to the end of Patrick Brice's The Overnight. "I do," Alex replies warily. "But I guess I'm just wondering what loosen up means at this point."

Is an artist's life relevant to her reputation as an artist? Not so much, perhaps, but many of us want the bio anyway, especially when the artist in question is as tantalizingly elusive as Vivian Maier (or Mayer, or Meyer, as she variously spelled it to confound the curious), a reclusive Chicago nanny whose posthumously discovered trove of street photographs swelled into a cause celebre after her death in 2009.

For a while in Jamie Meltzer's mesmerizing documentary Informant, I wondered whether subject Brandon Darby, the lefty activist turned FBI informer, was being played by an actor.

But no: It's Darby, and he's a handsome fellow, with haunted eyes blazing out of a bone structure to die for, and with a Montgomery Clift dimple in his chin. Staring straight into the camera, he testifies with the intense calm of a messiah or a madman, which all too often comes to the same thing. Among other things, this powerfully confused man is a study in American extremity.

Half an hour into Paul Weitz's new comedy, Admission, it dawned on me that I was watching an Americanized About a Boy -- which admittedly was also directed by Weitz. Both movies are adapted from other people's novels; both cobble together families out of the waifs and strays of modern life.

But where About a Boy was both funny and wise about urban alienation, Admission settles for skin deep.

It would take a heart of stone — or zero tolerance for soap — to resist Any Day Now, a full-throttle weepie about a West Hollywood gay couple trying to adopt a neglected boy with Down syndrome.