Netflix Review: Joe Wright’s ‘The Woman in the Window’
“While Wright’s stylized execution is impressive, ‘The Woman in the Window’ is a yarn that never fully grabs its audience by the jugular.”
Trapped in the Bed Frame: On Marco Bellocchio’s ‘Devil in the Flesh’
“Bellocchio’s 1986 film ‘Devil in the Flesh’ is perfectly representative of the great Italian director’s outlook.”
Review: Ryan Kruger’s ‘Fried Barry’
“‘Fried Barry’ is busy and overstuffed, but it’s also an incredibly promising and deeply weird reinvention of the body invasion thriller; a strange, disorienting and ultimately rewarding experience.”
Netflix Review: Alexandre Aja’s ‘Oxygen’
“Oxygen’s relevance strikes like lightning in a year when time is measured less by Earth’s tilt and more by first wave, second wave, red phase, yellow phase; not by time passing daily, but by how much danger remains in the room.”
Review: Ben Sharrock’s ‘Limbo’
“Ben Sharrock’s entracing new film ‘Limbo’ is a perceptive and earnest work.”
Review: Rob Garver’s ‘What She Said: The Art of Pauline Kael’
“Rob Garver’s ‘What She Said: The Art of Pauline Kael’ is a worthwhile biography of a fascinating life led with purpose and conviction.”
Review: Yimou Zhang’s ‘Cliff Walkers’
“Yimou Zhang’s ‘Cliff Walkers’ looks amazing but suffers from poorly-written characters and stiff performances.”
Review: Nikole Beckwith’s ‘Together Together’
“Together Together’s rumination on difficult work, new friendships and social bonding captures a pandemic mood, and works as a welcome addition to the niche genre of surrogacy cinema.”
Review: Marilyn Agrelo’s ‘Street Gang: How We Got to Sesame Street’
“Don’t be surprised if ‘Street Gang: How We Got to Sesame Street’ leaves you wanting more — that’s often the mark of something special.”
Review: Mia Donovan’s ‘Dope Is Death’
“‘Dope Is Death’ could’ve benefitted from more cultural context and a broader examination of the Shakur family legacy, but the 78-minute film succeeds with its specific focus on holistic healing.”
