‘We Live in Time’ Review: Moments well-spent with Garfield and Pugh
<p>After a decade that saw him flirt with various narrative styles – the Wes Anderson-lite Is Anybody There?, the spy thriller Closed Circuit, and the Innaritu-style crossing narratives of Intermission – John Crowley finally found a direction with Brooklyn, which was celebrated for its gentle nature and the depth of its performances. That, in turn, led him to The Goldfinch, which was a disaster so bad that Donna Tartt fired her agent and swore she’d never let anybody else bring […]</p>
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